Memoria review: arthouse movie starring Tilda Swinton

Robbie Collin says in Daily telegram. Memoria possibly the first “of the actual swelling itself” – a thick metallic sound reverberates through a bedroom in Bogotá, awakening Jessica (Tilda Swinton), an English botanist who has come to the city to visit her sick sister Karen (Agnes Brekke). As this “bewitchingly strange” story unfolded, “noise kept spreading” in Jessica’s head. It was “sometimes mellow, sometimes big-hearted”, but “nobody but her” seemed to be able to hear it. Director Apichatpong Weerasethakul’s “dreamlike avant-garde” films have always been at the “borderline” of what most audiences think is considered cinema; this is “by far the most approachable he is”, as it is essentially a “simple mystery”: “What made the sound, and where can Jessica find it?”

“Unless you have the inner entertaining power of the Buddha,” says Tom Shone in Sunday Times, I want to stay away from what seems to me almost “a parody of an art movie“. Swinton doesn’t “perform so much that she anoints every scene in her presence,” like a visiting alien. I took advantage of the endless rain photos to make tea and reply to emails. No doubt some viewers will be annoyed by Memoria“andante tempo” and “a long period of frosty silence,” says Peter Bradshaw in Guardians, but its “uniqueness and daring” left “an echo of happiness in my heart”. Weerasethakul is a true artist who asks us to examine “the unsolved and unsaid mysteries of existence: that we are born, live, die and all without ever knowing it.” why, or even often want to know”. This is a “beautiful and mysterious” cinema. Memoria review: arthouse movie starring Tilda Swinton

Fry Electronics Team

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