A movie can make great memoirs, because every movie is a hoax. The movie makes you feel like you’ve been through something, even if you haven’t; It gives you deep memories of things that never happened to you, in a way that never would have happened. In the name of Federico Fellini Put it in Rolling Stone in 1984“Cinema uses the language of dreams: years can pass in a second, and you can jump from one place to another. It is a language made of image.” So, if you want to draw an audience into your own story, there is no better way than to convince them to live inside it for a few hours, as if it was a life they were dreaming of.
Filmmakers intuitively recognize this possibility. They also know that it’s more interesting to feel the feelings of someone’s experience than it is to succumb to a dry narrative of facts, as in the less imaginative documentaries. For most of film history, directors have used the medium as a way to project their own memories onto the screen.
But if memoir cinema has happened a lot in the past, it is in its boom time now. In 2019 there was Rome, drawn from Alfonso Cuaron’s memories of his childhood in Mexico City. The following year, Joanna Hogg’s film souvenir Intricately recreating Hogg’s youthful memories, 2021 followed Remember Part Two. last year, Belfast He gave us an unabashedly emotional glimpse into Kenneth Branagh’s childhood. You might call these fairy tales – slightly fictional and we’re aiming to know it’s the truth – but in the case of the movie, where there’s a little more space between creator and creator, that’s basically a distinction without difference.
This year – well, you can not throw a stone without writing a diary. Steven Spielberg, who was no stranger to drawing on his life in his films, finally made a memoir with him fablemansHe explores his parents’ divorce and his youthful attempts to understand the world and its fears through films. Alejandro Inarritu cool It is the tale of a Mexican filmmaker and journalist in an existential crisis. Mia Hansen Love beautiful morning, about a tumultuous love affair, bearing hallmarks of her autobiography. Joanna Hogg will be returning this year with immortal daughterlocated in a world souvenir As she struggles with the emotional and moral charge of producing a film about her mother.
A leading figure on the field, James Gray Armageddon Time He performs the tricky trick of letting us enter Gray’s childhood in Queens from the perspective of a child’s glowing nostalgia and from his own adult point of view. Both see his family’s complex relationship with class, privilege, and race as it seemed to him at the time and how he feels about them now, as an adult. The film stitches the needle and gives us access to those perspectives as well.
A buildup of this kind cannot be just a coincidence. One explanation for this phenomenon may be that the older group of filmmakers are naturally inclined to look back on their lives, especially at a time of such cultural turmoil. Gray, for example, uses Armageddon Time As a window into our time, linking the past and the present. However, not all of these films look far from older directors. This answer seems very simple.
This is also evidenced by two films by 30-year-old directors this year. the cathedral He wonderfully recreates director Ricky Dampros’ youth, right down to the shooting in his family’s home, as a way of understanding his father. Likewise, Charlotte Wells after the suna leading figure in Cannes, reconstructs memories of the journey she took with her father as a young child and feels like an attempt not just to understand, but to forgive.
There are some other interesting clues. In most of these films, the protagonist acts as a surrogate for the director, a somewhat fictional character who usually has a different name. Hug Julie Hart’s avatar name. Spielberg’s Sam Fabelman. in the cathedralD’Ambrose names protagonist Jesse Damroche. coolThe protagonist is named Silverio Gama.
This is a move that fiction writers sometimes use to create distance or humor in the narrative, and here it serves to make us think about the character they are making. We are supposed to know that these are the directors, not the directors—a memory the director has of themselves, not of their actual selves. This is easy to understand. Our past selves seem more like people we knew than as connected personalities with ourselves. However, he is polite, which makes you realize that you are watching a movie, not just someone’s home movies.
In other words, it’s a metafiction technique, drawing your consciousness into form and content, and it’s not always the only one. Spielberg becomes jovial with metafiction in fablemansslips a few visual and verbal jokes into the movie to remind you of the character you’re watching who grew up to make this movie, and that this is his own attempt to overcome fears he’s had with him since he was a boy.
or there Irish, the least literal of the group, as Martin Scorsese (by proxy) reassessed his professional and personal legacy. Using someone else’s diary as a way to explore his life, Scorsese has a character played by his regular assistant Robert De Niro standing by himself: he lives an entire Scorsese classic, then is directed aggressively to reassess the story he told himself throughout his life. This realization comes via a character in the movie, and her wake-up call appears to be clearly drawn from real life.
Fairy tales, which are thin fiction stories based on the author’s life, have been a recent buzzword in the literary world, so you can associate these techniques with this trend. But when we talk about the art of cinema, we have to remember that it is a business. So there’s another possible reason: the recent glut of money being dumped on filmmakers for “personal projects” through streaming work – most notably Netflix. This trend is declining now, but while it has continued, it has fostered an environment in which filmmakers can only try to make things they couldn’t make before, for whatever reason. Maybe it was too expensive, too long, or the studio managers (never the most creative or communicative people in the business) didn’t think anyone would care. Getting a blank check is as good as a slip of permission to go ahead and make that personal movie.
There is also the fact that these projects often receive awards, especially for already outstanding filmmakers. Something about the way it makes us think of it as not just “stories” but Movies Make them feel important, huge, serious, even epic. That could prepare them well for the year-end awards – it’s movies You know? Something, and you can feel it.
However, none of these provide a complete explanation, perhaps because there is no easy explanation. (For example, a number of the largest films, including The Fabelmans, ArmageddonAnd the BelfastAt the end of the day, memoir films succeed because we watch them, or at least think we should. The memoirs don’t just pertain to the author; It’s about the reader, giving us a way to understand our lives through someone else’s story. There are a lot of bad memos, but good memos can be transformative. And living through someone else’s memories on screen can make you feel like you’ve experienced them for yourself. You may understand yourself better through another person – perhaps an Irishman. If you are lucky, it can change your life.
after the sun It opens in theaters on October 21. Armageddon Time It opens in theaters October 28. fablemans It opens in theaters November 11th. cool It opens in theaters on November 18 and premieres on Netflix on December 16. the cathedral Streaming on Mubi. souvenir And the Remember Part Two They stream on Showtime and are available to rent or buy on digital platforms. Belfast It streams on HBO Max and is available for purchase on digital platforms. Rome And the Irish Streaming on Netflix. immortal daughter And the beautiful morning They play at festivals and wait for theatrical performance dates.