What do we fear the most?
For many of us, it's the loss of who we are. It's the loss of our identities. It's the loss of our independence. It's the loss of our cognitive abilities. For these reasons, and many others, for many people Alzheimer's Disease is the kind of thought that makes us shudder.
Writer/director Chris Esper, who continues to surprise me years after I first began reviewing his films, seems to understand this fear yet refuses to cater to it. Distant Memories centers around Anna (Sissy O'Hara), an older woman whose cognitive abilities are in obvious decline and whose memories now appear to be mostly shards of past experiences and blurred somewhere on the line between fantasy and reality. To say that Esper's approach to Distant Memories is effective is an understatement. Esper has crafted a 10-minute short film that is both respectful of those who experience Alzheimer's Disease directly and indirectly and a film that refuses to caricaturize these human beings as tragic figures.
O'Hara embodies Anna with all the inherent drama one would expect, however, she also offers Anna exceptional grace and abundant tenderness. There's no presence of caricature here, Anna's humanity is fully intact even if her mind is seemingly slipping away in such a way that it feels both close and yet so far. Sublimely cast, O'Hara's work here isn't just memorable - it's the kind of performance you'll feel in your bones long after the closing credits.
While there's no denying that O'Hara is the heartbeat of Distant Memories, I must also acknowledge an absolutely terrific turn by Christie Devine as Noelle. Devine so beautifully captures the ache and vulnerability of a loved one both fully immersed yet also inexplicably forgotten. Devine's is a heartbreaking performance, a closing scene so alive with raw truth that I dare you to not shed a tear.
Esper's script beautifully captures the slow yet seemingly quick transition from early stages toward expected endings. In a mere 10 minutes, Esper takes us on a deeeply personal and relatable journey. Yet, he does so with intelligence, compassion, and a refusal to heighten the drama because, in such a story, heightened drama is unnecessary. Lensng by Nelson Reis is immersive, slightly washed, and intimate. The lensing makes us feel as if we're living in this story and with these characters.
Esper masterfully creates a world that is both fantasy and reality woven together into a tapestry of half-memories and images that flash before one's eyes that don't always make sense anymore. Watching Anna try to make sense of these images and symbols, memories and past experiences is presented with a gentle poignancy tinged by sadness. Esper avoids unnecessary histrionics in favor of simplicity and honesty. The entire ensemble cast is strong with Alyson Muzila, as a middle-aged Anna, also deserving mention for a finely nuanced, disciplined performance.
Esper has long been a dependable indie filmmaker whose indie projects are impeccably produced and memorable. Distant Memories is yet the latest film that reminds us of Esper's remarkable gifts as both writer and director. Lisa Wynn's production design further impresses as does Grace McDade Babikian's impressive production design.
Destined for popularity on the indie fest circuit, Distant Memories is the kind of film you finish watching and you're ready to watch it all over again.
Written by Richard Propes
The Independent Critic
