The plasticity of memory is a popular theme of the dramatic, sci-fi tentacle (" Total Recall "), now thriller (" Remember ") and genre hybrid ( "Eternal Sunshine of the Spotless Mind"). On a more mundane level, this nervous flexibility suggests something fragile and vulnerable. For two couples at the Almond and Seahorse center who have suffered traumatic brain injuries, being trapped in a corrupted memory loop isn't theory, but a sad and harsh reality. How to maintain a relationship with a person whose memory of your life is fragile, capricious, insulted? Such is the painful problem faced by the characters Sarah and Tony, played by Rebel Wilson and Charlotte Gainsbourg.
As it turns out, his first non-comic role on the big screen changed Wilson's life — a paradox, considering that drama only comes onto screens in the blink of an eye. Adapted from the play Kate O'Reilly by Celine Jones and her screenwriters, the film unfolds episodically and often feels like a dramatic lesson in the BTI – a lesson well learned, to be sure; Director of Photography Tom Stern is an accomplished cinematographer and frequent Clint Eastwood collaborator. Stern also directed the film, with Jones playing one of the main characters. There are some stunning visuals – the film was set and filmed in Liverpool/Merseyside, England – and the adorable faces of Gainsbourg, Wilson and Trina Dearholm are rendered in a loving light. However, the story is more told than explored and it keeps all the characters away most of the time.
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The film's title refers to the amygdala and hippocampus, parts of the brain important for making and storing memories, as described by Sarah de Wilson. Her husband Joe (Jones) and wife Tony Gwen (Dyrholm) suffer from a debilitating form of amnesia caused by surgery on him and a car accident. They don't know each other, and just over halfway through the film, the pair meet at a local hospital that specializes in traumatic brain injuries. (It's not clear if it's available to every Brit via the NHS, but the sparsely populated and well-equipped facility may seem like a dream to American viewers.)
While treating patients and enduring the anger and frustration of his relatives, hospital director Dr. Jo and Gwen return to his care for a few days of observation; Each of their partners has reached a breaking point as they struggle to overcome a deep sense of confusion that requires constant adjustments to fill in the blanks in their shared history—in fact, almost always starting from scratch. Sarah tries new, more aggressive tactics that include beeps, lists, and charts, and, for the benefit of the audience at least as much as Joe, recording her agony.
When we first see Sarah, she's dancing and drinking alone, pretending to be lonely. He then called the hotline about Joe. Whatever he had done in life before his injury, he was now a child smothered by useless growth, alternately playful and stubborn, his empty joy sometimes replaced by an adult's longing, trying to understand why his wife looked old, as he remembered. Becomes
Believe it or not, the symbolism of Sarah's work is clear: she is an archaeologist who spends her days recovering human skeletons and collecting fragments. The same goes for architect Tony, who quit his construction job 15 years ago shortly after an accident with musician Gwen changed his life.
When Sarah and Tony meet, their first conversation is inspiring. After this fun mess, the relationship turned into an awkward morning and then a Monday date that ended with a walk on the beach. But it's a winter beach, shot atmospherically by Stern, as well as the setting for the film's most powerful moment, when Gwen meets one of the iron figures in an art installation (" Elsewhere " by Antony Gormley). In Dyrholm's simplistic response and the graciousness with which he and Gainsbourg display, his quality achieves a depth that is aspired elsewhere.
However, it can be beautiful, but often interrupts the moment with a Gruff Rhys Super Furry Band song that makes an explicit push toward crying or joy (as per the flamboyant interior, production designer). Ginny Godwin brought Joe and Sarah.) The tone of the film is anchored in the actors' moments. Patrick Eleu, working in a hospital, has short and gripping scenes in which Dyrholm centers around his cello and Alice Lowe appears as Sarah's humble and outspoken daughter-in-law; exchange them live.
Wilson's first exit from comedy on the big screen is a testament to his worldliness; He could certainly survive another dramatic attempt. Yet, with all the sympathy and hope, it flows in such sharp leaps that it loses its intended emotional effect. Perhaps this jump was meant to reflect the struggle between Joe and Gwen, but something is missing in the storyline.
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