Ines Scheiber, Jules Durand, Julien Becquer, Elena Dupressoir, Viviane Guimaraes, “Memo” (2017)
A very touching film on Alzheimer’s disease and its impact on sufferers’ daily lives, “Memo” derives its punch from a man’s struggle to preserve his independence and maintain control over his life as his mind is threatened by the creeping onset of the disease. Louis wakes up to find the kitchen and bathroom fixtures almost covered in post-it notes placed by his daughter Nina to remind him of the things he needs to do and that she is coming to have breakfast with him. He discovers the coffee canister is empty and, as if on cue, Nina phones him. They talk briefly and Louis tells Nina the canister is empty. Straight away Nina tells Louis she’ll get the coffee; Louis stubbornly decides he’ll get the coffee himself just to show Nina he can take care of this errand. He goes down to the supermarket and goes through the aisles to search for coffee … and finds himself lost as his visual and spatial memory cloud over in blankness, and he can’t remember where the coffee is kept. He manages to find something and rushes out of the store. To his horror, his mind completely clouds over under the stress of forgetting and being lost, and everything goes blank.
The animation is very clear and does an effective job of suggesting the action of Alzheimer’s disease on a person’s mind by rubbing out (in effect, deconstructing) the animated objects surrounding Louis and devolving everything back into a blank white background. (As if the film had originally been conceived on white paper, which it might well have been.) The film’s point of view closely mirrors Louis’ point of view so the clouding effect is likely to make a strong impression on viewers’ minds. While Louis through his actions is a character easy to sympathise with, the plot is very threadbare and Nina is as sketchy as can be so the film cannot sustain very much more than five minutes of story. Viewers must bear in mind though that this animation was created by young undergraduate students at the Gobelins animation school. More experienced animators might have introduced a sub-plot in which Louis comes to resent being dependent on Nina, and Nina perhaps feeling irritated at Louis’ peevishness and also a bit resentful at having to look after her father while other siblings shirk their obligations.
The straightforward, realistic visual style of the animation contrasts strongly with the fading of the objects and backgrounds of the film. We feel Louis’ terror and confusion as his world is overcome by the chaos of nothingness. The film makes its point quickly as the characters beat back the disease with familiar routine and more post-it notes – but for how much longer until Nina is forced to find round-the-clock care for her father, we don’t know.