Reminiscence

Both a love letter to, and a reinvention of, the noir genre, Reminiscence is an atmospheric, character-drive mystery thriller that plays with the genre’s conventions while also delivering all of the twists and emotional payoffs you could hope for.

Premise: In the near future, in a flooded Miami ravaged by the effects of climate change, ex-military veterans Nick Bannister (Hugh Jackman) and ‘Watts’ (Thandiwe Newton) eke out a living helping clients relive past memories through a ‘reminiscence’ machine. But when lounge singer Mae (Rebecca Ferguson) walks into their offices one evening, she sets in motion a chain of events that will lead to murder.

Review:

First things first, I do have to say up front that Reminiscence may be a bit of an acquired taste, and it’s unlikely to appeal to everyone. Given that the film is already considered a commercial flop, that’s perhaps not surprising news – but for what Reminiscence is and what it sets out to be, it’s a triumph that should hit all the right notes with its target audience.

As a fan of the noir/neo-noir genre, and in particular the “private detective” sub-genre, I was certainly in the film’s target audience, but even then, the film surpassed my expectations. Perhaps even more impressive, whereas some films in the genre diminish on repeat viewings once you know what twists are coming, I found Reminiscence even more rewarding on a second viewing.

“…deconstructs the noir genre to explore the theme of memory…”

The film is the directorial debut of Lisa Joy, the writer probably best known so far as the co-creator of HBO’s Westworld series. Like Westworld, Reminiscence takes an established genre (in Westworld’s case, the disaster movie genre, and in Reminiscence’s case, the noir genre), then not only deconstructs that genre but also uses it to explore different philosophical issues. In Westworld, the genre was used to question what it meant to be ‘human’, whereas Reminiscence explores the theme of memory – the appeal of reliving past experiences, the subjectivity and fallibility of memory, and the dangers of becoming trapped in your own past.

Like Westworld, Reminiscence won’t appeal to everyone, but it is far more accessible than Westworld was at times. The central mystery is certainly full of twists and turns, but never in a way that’s too difficult to follow, and there are no narrative rug-pulls like Westworld’s infamous multiple timelines. It also isn’t really a “sci-fi” film, despite being set in the near future (around 2050, I believe) – with the exception of the climate change elements and the reminiscence technology itself, everything else in the movie feels very much like it could be taking place a couple of years from now. In short, there’s not a flying car or a robot in sight.

“…the depiction of Miami is integral to the film’s distinct tone & atmosphere…”

The reminiscence machine itself is arguably the only real piece of “sci-fi” in the film, but the explanation given (that it was originally developed as military technology to put prisoners through a form of guided meditation that allowed the interrogator to view the subject’s memories) is sufficient to suspend the audiences’ disbelief. The only other “futuristic” element of the film is its evocative depiction of a coastal city ravaged by the effects of climate change.

The city of Miami very much feels like another character in Reminiscence, integral to the film’s distinct tone and atmosphere, and brought to life brilliantly through a combination of CGI and practical effects. As the sea levels rose, the city effective became divided into three sections: there’s the fully flooded “Sunken Coast”, where the poorest people live in the upper levels of the remaining buildings, and the only way to travel is by boat; there’s the downtown area, where the water is only ankle deep thanks to sea walls, which is where Nick Bannister’s (Hugh Jackman) office is; and then there’s the walled-off “Dry Land”, owned by the superrich “land barons” to the exclusion of everyone else.

“…the cast list is top notch…”

The production design is incredibly well realised, giving the world a tangible quality that never feels like a staged “movie set”. Rather than being a typical sci-fi depiction of a dystopian future, this feels like a believable society where the characters are living, not just surviving. The cinematography plays an important part in making the film feel so grounded, and the fact that this fictional society has had to become nocturnal (to avoid the inhospitable daytime temperatures) gives the film a very individual look.

The cast list is top notch, and features several of Lisa Joy’s Westworld alumni alongside new collaborators. Hugh Jackman is the audience’s eyes as “memory investigator” Nick Bannister, but he delivers a multi-facetted performance that toys with the conventions of a stereotypical noir hero. Rebecca Ferguson, meanwhile, is fantastic as Mae, in a role that is both a tribute to, and a deconstruction of, the femme fatales of old. It’s left to Thandiwe Newton as “Watts” to fill the notional action hero role, while also bringing emotional depth to her performance as Nick’s partner and conscience. And speaking of action, although Reminiscence is, first and foremost, a noir mystery thriller, it does have a couple of standout action sequences that show Lisa Joy is just as good at staging the action as she is at staging the more character driven moments.

“…intellectually engaging & emotionally impactful…”

The cast list also includes the always reliable Cliff Curtis as a corrupt cop, and Daniel Wu as a local drug dealer, as well as a host of other great character actors in smaller roles. They all work to weave together a mystery plot that stays true to the core principle of the noir genre – that nothing is as it first appears – while also delivering a number of surprises that you would not normally expect to see in the genre.

All in all, Reminiscence was never going to appeal to the mass market – but it also deserved far more love and attention than it received on release. It manages to be both intellectually engaging and emotionally impactful in its lyrical examination of themes ranging from love, memory, and whether anyone can ever truly know another person, through to economic inequality and social injustice. It does all this while also providing thrills and twists, and ultimately pays off with a surprising powerful final act. While it may not be for everyone, for fans of the noir genre or those looking for a thriller with a bit more depth, this is a must see movie.