Apples Review: Greek Drama Is A Quietly Effective Meditation On Memory
At a time when memory and identity seem inextricably linked to social media (and the photographs along with it), a collective consciousness has been built around the outward appearance of the self. Apples asks what happens when the idea of the self is erased, when nothing is left and we have to build a new identity in an era where the very idea of it could become lost within the collective. The Greek film tackles memory and identity with a quiet rumination on what it means to be alive when those things are so susceptible to being lost. An effective portrait of ambiguity accompanied by a stellar lead performance, Apples' contemplative nature hides nuanced questions about the modern age underneath its placid surface.
Apples follows Aris (Aris Servetalis) a man who, at the beginning of the film, wakes up with no memory of who he is and no identification to give him an idea of who he could have been. There's a pandemic sweeping the country (and quite possibly the world), one where people fall asleep and wake up with no memories. Sometimes their loved ones find them and set out to restore some semblance of identity, but those who go unclaimed are left to drift in a world populated with other amnesiacs and advertisements for a medicine called Memory+. In an attempt to rebuild some sort of life, Aris joins the «Learning How to Live» program where he will be given a place to live and instructions on how to, essentially, build a new identity.
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These instructions come in the form of recordings that tell Aris to do something (what may be considered a quintessential life experience) and document it via Polaroid camera. These experiences make up a new
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