Memoria ★★★★½

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“We might conclude that everything spatial in a film, in terms of image as well as sound, is ultimately encoded into a so-called visual impression, and everything which is temporal, including elements reaching us via the eye, registers as an auditory impression.”

“Some kinds of rapid phenomena in images appear to be addressed to, and registered by, the ear that is in the eye, in order to be converted into auditory impressions in memory.”

— excerpts from Audio-Vision: Sound on Screen by Michel Chion

Call this film what you will: Tropical Melody, Syn-drones and a Century or Harmony of Splendor. But one thing is certain, Weerasethakul composes and constructs his whole Memoria around a bit of sound/noise like no one could ever imagine. He ambitiously proves not only the cinematic acoustics can be simultaneously spatial and temporal but it needs to be much more. Now it’s time for us to talk about many things: narrative sounds, structural sounds, architectural sounds, sculptural sounds, psychological sounds, spiritual sounds, corporeal sounds, kinetic sounds, static sounds, archeological sounds, historical sounds, primordial sounds, symptomatic sounds, natural sounds, musical sounds, vibrational sounds, audible sounds, inaudible sounds, visual sounds, invisible sounds... and perhaps foremost, the memorable sounds. With Memoria, Weerasethakul achieves in cinema what Paul Klee aimed for when he painted Ancient Sound and Ancient Harmony on canvas.