‘A Photographic Memory’ Documents Daughter’s Search For Her Mother

Sound in cute, curious, wise records. “Calm”, a person describes.

It is the voice of the photographer and writer Sheila Turner is a seedConduct an interview with some of the greatest photographers in the twentieth^Y Century- Henry Cartier-Person, Model Leset, Gordon Parks, Bruce Davidson, Cornell Capa, WW Eugene Smith, and Roman Fishnak. The talks of the “Human Pictures” exhibition were recorded by Turner before her sudden death in 1979 at the age of 42.

There is another voice on those tapes, in the background-the voices of a one-year-old child only or at some point, Turner-Bell Rachel’s daughter. After decades of the death of her mother, she discovered the seed of these recordings and placed them in the heart of a documentary. Photo memoryA movie that can also be described as cute, curious, wise.

For the director, the recordings have become an intimate way to know that I have a great bond with my mother, “says the deadline. “He was not lost due to the mistake of anyone or not through her desire.”

Sheila Turner died suddenly due to cerebral bleeding, leaving Rachel grew up by a loving father, Brian, a famous photographer. Before finding the audio tapes, Rachel had a little concrete evidence of the mother and daughter’s relationship, outside the image of Saila, who carries a young Rachel in her arms.

“This image may be the only image that I remembered or remembered all over the house, but I couldn’t see myself logically as the child … I do not remember that moment. So I don’t get stuck with it completely. You want to return to the image, but I will never be able to.”

Photo memory He plays this week in Laemmle theaters throughout Los Angeles. From June 20 to 26, he plays at the Jin Ciskeel Film Center in Chicago, and on June 27 begins to show in New York, with a national offer to follow throughout the summer. Win the movie Spirit Truer Independent Film Film FilmIn addition to the Best Film, City and State award at the Chicago International Film Festival and was nominated for awards at Millennium Docs against Gravity in Poland, the Miami Film Festival, the Cleveland International Film Festival, and the Spotlight Award at Cinema Eye Honors.

The documentary is revealed as a connection journey, or a re -call. In the audio comment in the movie, Rachel asks about her mother, “How can I know myself if I don’t know you?”

“It is about identity. It is about this type of difference. Who am I, who is my mother?” Explain. “Can I take her shoes? Will it bring me closer? I think this was part of the story.”

The film contains parts of Sheila Turner-CEED magazines that look like her own voice-in line with those she heard in audio recordings. However, she is not Sheila, but her daughter expresses words.

“This was a decision that I reached after a lot of thinking,” seed notes. ))

The viewer acquires the impression that it is present for the interview sessions between the Terner seed, Henry Cartier-Barrison, Gordon Parks and other famous photographers who heard in the recordings. It has been achieved through entertainment that feels noticeably originally.

Dubai Ports [Drew Gardner] The director was a strange genius, and he is one of my close friends, living in England. I only used it in entertainment buds, and he did not do it before; He is still a trade. We all called them one apartment in Los Angeles and was able to imagine those moments. ”(Seed praises his genius colleague DP Joseph Michael Lopez, who photographed many intimate moments in the movie, including Rachel’s conversations with her father Brian).

Without being explicitly mentioned, it becomes clear that Rachel plays her mother in entertainment.

“It seems as if I am astonishing her life,” a seed is in pain. “It seems like a ghost in the future is going to the past.”

Seed says that one of the documentary films protested that she should have told the viewer – through text on the screen? She was in her mother’s role. The director concluded that she was not violating any unwritten rules for a fictional model.

“It is about my inner mosque and my experience. So this is personal and it can be really anything,” you notice. “I think that as soon as I embraced it, I felt as long as it was authentic, it might be a documentary.”

Seed says that her biggest challenge was not her mother’s play, but another aspect of the filmmaking process.

“What was difficult for me was writing and recording the narration. This was the most difficult part for me emotionally,” and it is involved. “As a writer, he made me realize how I was out of touch with my own feelings. I had to communicate with them so that I could finish the movie. I really did not want to do so; I felt as if it were a very hard work. It was as if it was forced myself to do this fortress from the feelings that I had to reach. This was something I did not expect when I started.”

At some point in the movie, Seed uses her mother’s interviews to create a feeling that the mother and her daughter are in a dialogue with each other over the time of time.

“There was some of the tactic that occurred where it seemed, a tone, we are already talking to each other,” she emphasized. “Part of me feels as if I could make a full movie like this in a more experimental way, but I think I need this movie to be more accumulated so that people can follow the story.”

Seed continues, “I was not a movie maker when I started making it … I think what inspired me to make it a movie that was like a 3D travel experience inspired by all these pictures and voice writing. Everything I felt very visible. I want to be large and can be reached as possible.”