Watch Memento Online

[Lorriane Nasuti]

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Christopher Nolan's Memento was a sleeper smash-hit in 2000: the smart indie used an ingenious backwards narrative structure and well-drawn but mysterious characters to draw us into the world of Leonard Shelby, the 'ten minute man' who suffers from anterograde amnesia, unable to make new memories. Now the film has been re-edited to run chronologically, and is available to watch online. Click below to see what an indie filmmaker can learn from the narrative structure of this indie classic!

If any movie demands multiple viewings, it's Memento. The film, based on the short story "Memento Mori" by Nolan's brother, Jonathan, shows us, starting with a mysterious backwards murder, the story of Leonard Shelby, a man on a quest to avenge his wife's rape and murder by a mysterious man known only as "John G." Because he can't make new memories and is incapable of remembering his life for more than ten minutes at a time (due to the assault that killed his wife), Leonard is helpless, dependent on his tattoos and notes to remind him of who his friends and enemies are (and he seems to have more enemies than friends). The film's complicated structure, illustrated here, disorients the audience, and in the ambiguous ending, we learn that Leonard's quest might be little more than a fool's errand he has set himself on, a way to give meaning to his fractured life:

Watching this edit is a revelatory experience, revealing the inner workings of the opaque plot (though I wouldn't recommend watching it before seeing the original; it would be like watching The Usual Suspects knowing who Keyser Sze was the whole time.) Over at Film Forensics, they have a great breakdown of the viewing experience. In this passage, the author gives his interpretation of the key scene where Leonard burns the evidence of his first killing, which he has forgotten (though it is never made clear whether Teddy is telling the truth):

This is one of the most important points: what is slyly underplayed in the original is Leonard's agency in his own fate. This cut gives the film a whole new meaning, and, from a filmmaker's perspective, is very instructive in showing just how Nolan accomplished his sleight of hand.

What do you think of this version? What lessons can an indie filmmaker or screenwriter learn from Memento, a film that relied on good old-fashioned narrative structure to construct a house of mirrors that more than a decade after its release is still confounding viewers?

Here's where I'm at right now in the journey because it changes, right? I mean, I'm an old man now and I've been doing this thing for a minute and it keeps evolving. Evolving, and I keep learning and I keep growing. I hope I do until I'm bones. But I think that at the moment, the thing that intrigues and fascinates me the most is probably the boring answer. Maybe it's not boring, but it's the very heady answer of I have so many perplexing questions about this life at this moment. I thought at 49 I would've really figured stuff out. I really thought I would understand why I get so depressed, why I get so anxious over little weird things. Why is it so hard sometimes to wake up in the morning? Why am I so afraid of the things that I'm afraid of? And I think that through the lens of this genre, which is unfortunately, it's not that it can't be fun, right?

Fun can happen and you could still wrestle with and explore those questions. Right now, I'm just at this place where I'm staring at the universe around me being like, God, this doesn't get easier. And then when you go through a story where you have an incredible new iconic monster or entity or event, whatever it may be, nature horror, serial killer horror, supernatural Horror, slasher gore fest. To me, that's the thing that when someone sends me a project or we're starting to develop an idea with the company that I am running right now or I'm trying to create something, that's the thing that hooks me, gets me, gets me going. It gets me really revved up about the thought of jumping in on something and giving that energy to it.

Angel Melanson: The cycle has come back around and it's time for the stuff that I really, really champion and enjoy. And also to piggyback on that, I love to see just diverse characters like queer characters, and characters of color, and it has nothing to do with the story. They just happen to be there because they just exist in normal spaces. And I would like to see a little more of that. I feel like we're slowly getting there, but we need more of that.

Peter Kuplowsky: I feel like when Jordan Peel's Get Out came, it was great, but I also think that Hollywood learned the wrong lesson, which was like, oh, we all have to make these Get Out-style movies that have to be movies about that are very much with that discourse at the top of mind.

Akela Cooper: Yeah, it was like every time I would go out to pitch something that just happened to have a black lead being in a horror movie, the execs would politely listen to my pitch and they would go, but what is this saying? And I would be like, if this situation fucking sucks and is terrifying, they're like, no, no, on a deeper level, what is it saying? And they would be like them staring at me, me staring at them, and I'm like, I'm going to make you white executives say it. But yeah, it was always like, what is it saying about the black community is like, this fucking situation is terrifying. But yeah, no, it was push that any horror film that I had to do had to say something. And I hope that what clout I have from Malignant and Megan will help me in the future get those movies off the ground now.

David Dastmalchian: Right. I guess I'm yearning to see it. I love fantasy horror. I love good science fiction horror, but I'm a lifelong comic collector and I've collected horror comics for most of my life. But I do love the intersection between superhero mythologies and horror. And I'd like to see that explored more. It has been done and there are people doing it. I think that's really exciting. And I just think there's something about the way we're intersecting with technology, which you've done in a really cool way, but what I'm yearning for right now is the way we experience it. I feel like we're all on the brink of something. I don't know what it is. I don't know if it's VR, I want a new experience for my horror and I think about this a lot. What does that look and feel like? Do we get William Castle on their asses? Is it just bringing in some kind of live element to the theatrical experience? Is that possible? Is there a way legally and financially to pull that off?

The metal hour hand reads "remember", the minute hand "you will die".

The Accurate is a link to the tradition of the memento mori - an object designed to remind us that life is brief and that we should seize the moment while we are here.

The design is also a play on the notion of accuracy in time keeping - this watch is accurate in a rather more fundamental sense than the traditional horological measures...

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