The Almond and the Seahorse (2022)

Celyn Jones takes the plaudits here with an engaging and considered performance as the amiable "Joe". Married to "Sarah" (Rebel Wilson), he is suffering from a regressive form of amnesia that might soon ensure he has no idea who she is. Though caring, she is struggling with this traumatic and frustratingly repetitive existence and using their doctor "Falmer" (Meera Syal) as a sort of conduit, we meet other people whose relationships and lives are being eroded by similar forms of cerebral wasting away. Apparently the film's title comes from two parts of the brain that are similarly shaped and that deal with memory - and for a while this is quite a poignant look at how people must deal with such an intangible illness. Those affected don't miss what they never had, so increasingly it's those around them who must reconcile themselves to lives where they have to learn play a different part to the one they signed up for. Aside from the quite touching effort from Jones, though, the rest of this is really poorly written and prone to too many tangents. The sexualising of the relationship between "Sarah" and "Toni" (Charlotte Gainsbourg) who's long term partner, a skilful cellist, has been admitted for observation suggest some need for diversion and hope amidst the relatives, but quickly fizzles out bringing nothing at all to the story. The cynical and aloof characterisation of "Falmer" - who may, or may not, have issues of her own, is so devoid of sympathy that I found her very difficult to believe. There are some thought-provoking threads to consider here, but Wilson isn't really a very compelling actor to watch. The whole thing relies too much on the use of prop cigarettes and upon our own, innate, attitudes of compassion and appreciation of the frustrations rather then using the characters to depict them. It skates on far too thin ice most of the time, and is really quite disappointing.