Samantha Mitchell’s “RSVP” Incluvie Film Fest Review
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Memosium
Memosium is composed like a concerto in three movements. Camera, body and space have their own tempo but all are played simultaneously. From its shots and characters, the story seems amnesic. Events reiterate themselves infinitely. We are in a time of repetition. Thus, all seems to start again, stressed by the circular arrangement of space. Prisoner of its own memory. Moreover, the acceleration and geometrical multiplication of movement, the complexity of the character’s activities, their mathematical cutting and the infinite re-arrangement of the body give the spectator a new awareness of time, without set limits. Only flight (death?) can allow escape from this trap of time.
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Memosium is composed like a concerto in three movements. Camera, body and space have their own tempo but all are played simultaneously. From its shots and characters, the story seems amnesic. Events reiterate themselves infinitely. We are in a time of repetition. Thus, all seems to start again, stressed by the circular arrangement of space. Prisoner of its own memory. Moreover, the acceleration and geometrical multiplication of movement, the complexity of the character’s activities, their mathematical cutting and the infinite re-arrangement of the body give the spectator a new awareness of time, without set limits. Only flight (death?) can allow escape from this trap of time.
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