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★★★ĭrama | Cert: 12A | Sovereign Film Distribution | UK cinemas, 14th January 2022 | Dir. But, bear in mind that, despite those near-tortuous silences, you’ll find yourself strangely captivated. It’s a baffling puzzle of a film, and that’s part of its fascination. Swinton’s Jessica has a difficult job describing it to a sound technician and she has our sympathy. And that mysterious noise could be almost anything – the thud of doom, the menace of mortality. Perhaps the sense of isolation that surrounds Swinton’s character is the key to it all. On what? While its cinematography and sound cradle your attention, you’re never quite sure what it all means and the end result is a film which celebrates its obscurity and downright weirdness, but doesn’t give you too many pointers as to its meaning. With its pace and resultant dream like quality, Memoria feels very much like a meditation. And then there’s the noise itself, which has an almost cheeky habit of making its presence felt just when you least expect it or, to put in another way, when you’re in danger of nodding off. Who knew there were so many shades of green? It all helps move the film along – it doesn’t have a narrative to speak of – and keeps a tenuous hold on our attention. Especially beautiful are the gloriously luscious tropical surroundings.

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While the snail-like pace has its downside, it does allow us the luxury of taking time to absorb the film, both visually – the tiniest, most intricate of details which may, or may not, be clues to the origin of the mysterious sound – and aurally, with its apparent peace full of delicate sounds, some so subtle that they almost blend into the background. Even more strangely, it seems exclusive to her because, when she hears it, nobody else bats an eyelid. Not the proverbial bump, but something loud and disturbing and, even though she gives it little thought initially, it returns repeatedly, in a variety of settings.

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Movie Review: Apichatpong Weerasethakuls Memoria Entrances Like a. Tilda Swinton is Jessica, an expat who is suddenly woken up in the middle of the night by a strange noise. Memorias Tilda Swinton wants you to treat a night at the movies like a rock. He also returns with that familiar contemplative pacing which at times comes perilously close to being snooze-worthy in what is billed as his first English language film – in truth a mixture of Spanish and English – set in Colombia. No Palme D’Or this time, but the Jury Prize instead to take home.

Last year, he returned to the scene of his triumph, this time with Memoria.

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He didn’t rest on his laurels over the next decade, with around 20 varied projects – shorts, TV movies and full length features. His installations have included the multi-screen project Primitive (2009), acquired for major museum collections (including Tate Modern and Fondation Louis Vuitton, Paris), a major installation for the 2012 Kassel Documenta and most recently the film installations Fireworks (Archive) (2014), Invisibility (2016) and Constellations (2018).Back in 2010, Thai director Apichatpong Weerasethakul was the toast of Cannes, with Uncle Boonmee Who Can Recall His Past Lives scooping the Palme D’Or. Working independently of the Thai commercial film industry, he devotes himself to promoting experimental and independent filmmaking through his company Kick the Machine Films, founded in 1999, which also produces all his films. Lyrical and often fascinatingly mysterious, his film works are non-linear, dealing with memory and in subtle ways invoking personal politics and social issues. His art prizes include the Sharjah Biennial Prize (2013) the prestigious Yanghyun Art Prize (2014) in South Korea and the Artes Mundi Award (2019). He has also mounted exhibitions and installations in many countries since 1998 and is now recognised as a major international visual artist. He began making films and video shorts in 1994 and completed his first feature in 2000. Mysterious Object at Noon (2000), his first feature, has been restored by Martin Scorsese’s World Cinema Foundation.īorn in Bangkok, Apichatpong grew up in Khon Kaen in north-eastern Thailand. Syndromes and a Century (2006) was recognised as one of the best films of the last decade in several 2010 polls. His Tropical Malady won the Cannes Competition Jury Prize in 2004 and Blissfully Yours won the Cannes Un Certain Regard Award in 2002. His previous seven feature films, short films, installations and his recent live performance have won him widespread international recognition and numerous awards, including the Cannes Palme d’Or in 2010 with Uncle Boonmee Who Can Recall His Past Lives. Apichatpong Weerasethakul is recognised as one of the most original voices in contemporary cinema.