Memento (2000)

Directed by: Christopher Nolan | 113 minutes | drama, crime, thriller | Actors: Guy Pearce, Joe Pantoliano, Carrie-Anne Moss, Mark Boone Jr., Russ Fega, Jorja Fox, Stephen Tobolowsky, Harriet Sansom Harris, Thomas Lennon, Callum Keith Rennie, Kimberly Campbell, Marianne Muellerleile, Larry Holden

Every person is a bundle of memories, which largely determine his actions in the present. But where do you derive your identity when your brain is severely damaged and you can’t remember things for more than 15 minutes? This fascinating question is the focus of ‘Memento’ by British director Christopher Nolan, who previously made a deep impression with ‘Following’. And just like in that film, ‘Memento’ also shows that Nolan doesn’t think much of his fellow man. And that is precisely what gives the film an extra heavy load that is often sorely missed on the well-trodden path of the thriller.

Insurance agent Leonard (Guy Pearce) suffers a damaged short-term memory from his wife’s murder, but is determined to find and kill the culprit. To that end, he should write down any information he comes across as soon as possible and take pictures of people he thinks may have something to do with the case. To be reminded of his mission every morning, he has tattoos on his body with powerful spells like ‘find him and kill him’. Leonard derives his identity only from his actions, not from his memories. He tries to deny that terrible fate by racing through life like a machine, traveling from hotel to hotel in search of revenge.

What is special about ‘Memento’ is the complex and sometimes confusing story structure in which the story is told; by completely reversing the chronology of events – so the film starts with the end of Leonard’s quest and then works back to the beginning – the director uses a daring trick. Only during the final scenes do the puzzle pieces fall into place. That could have been a chaotic affair, were it not for the excellent screenplay (based on a short story by Nolan’s brother Jonathan), the excellent editing by Dody Dorn (nominated for an Oscar) and the tight, fairly sober directing. . As a result, it has become a fascinating metaphor for what a human life actually entails.

People can rarely be trusted in thrillers, but if you can hardly trust yourself, what’s left? Living like an animal and waiting for redemption? That’s a chilling conclusion that seems to be underlined by the black-and-white phone conversations Leonard makes alone in his hotel room. Who he speaks to remains obscure. The people who volunteer to help him find the killer, the strange Teddy (Joe Pantoliano’s brilliant role) and femme fatale Natalie (Carrie-Anne Moss, of ‘The Matrix’ fame), aren’t simply out on their own. gain? Who is actually manipulating whom?

In ‘Memento’ it is all about memory and the extent to which memory determines actions. You really feel sorry for poor Leonard (a strong role by Guy Pearce, known for ‘LA Confidential’) who digs deep into his memory for moments of happiness. With little money but all the more conviction Nolan has completely turned the expectations of the thriller genre upside down with this film. That ‘Memento’ stays in your head for a long time and you get the urge to see it again, if only for the brilliant opening scene, says enough about the power of this film. So be sure to watch!