‘A Photographic Memory’ review: A lost parent’s legacy is honored

The prominent mother that the photographer Rachel Elizabeth did not know her seeds was her star, which deeply affects “photographic memory”, and she is one of the best documentaries last year, in the end to Los Angeles theaters. These poetic gemstones are a journey from the weight of absence to the purity of existence, thanks to this to a small part of the talented woman withdrawn from mystery: Sheila Turner, whose life was short but complete and activated.

Turner, a 42 -year -old journalist when she died in 1979, leaving behind a 18 -month -old daughter, a brake husband (Brian Seed) and a heritage of large -scale reports, which ranged in tickets in an oral and visual history called “Human Pictures”. The project has been established by the leading interviews in Turner with the best live photographers in the world at the time, including Henry Cartier Presson, Cecil Beton, Lezit Model and Gordon Parks. Although she not only referred to her as amateurs with a camera, the ranked Turner once saw a picture of her land on the cover of the New York Times.

Her daughter also followed photography and a non -fictional story novel that can be considered as a manifestation of a deeply perceived relationship. Did she follow her mother’s passion for the easily available way to address the personal loss that the director did not have a memory? The seeds began only to explore the breadth and passion of her mother’s heritage when she reached herself to the era in which her mother died, a milestone fraught with many children who do not practice parents.

What the youngest seed, accompanied by memories of her mother’s colleagues, found a rich archive of adventurous work and personal expression: photos, magazines, communication sheets, Super8, cutting sound and a set of interviews. These discussions reveal a vibrant mind that not only keeps their topics on their fingers, but also raised warm answers about the nature of their art in a timely manner.

The private Turner-SEEEED writing puts a struggle for self-realization, to reconcile the traditional values ​​that her parents pay the Jewish immigrants with a troubled need to discover and make it in its own way. In the introduction of a particularly detected magazine in 1972, she wondering whether she will grow in her chosen fields if she gets married and has a child – but also, do you want that? The presence of Turner, a warm presence with a social smile, is never far from extreme thinking or contradictory feeling.

Why is “photographic memory”, however, is to deal with her daughter with this precious life. It is a thoughtful evocation of the parents and the child who was never, but it is the seeds and its editors (including the legend of documentary pieces Maya Desi Hook) in life.

With sadness and fun both, seed threads in Introsportive sound and contemporary shots (give the materials, visit her father, flow with her boyfriend). She also adds re -extension interviews that were conducted on her mother, as her father’s seeds play in these excerpts 8 mm. Ultimately, technology allows these distant weeds to share a frame.

The biography and frying, “photographic memory” indicates that both women are interested in locating her wonderful mother, went very early, and an artist explores her location. From the motivation to take a picture, to seize this moment, we hear Cartier-Braison enthusiastically tell Turner, “Life once, forever.” The movie of her wonderful daughter in the future beautifully embodies the idea.