Familiar Touch
Possibly the only film in cinematic history to open with an inversion of the worst scene in Oedipus Rex, Sarah Friedland’s directorial debut Familiar Touch frankly tackles the consequences of time on identity, memory and familial bonds. At its centre is octogenarian Ruth, whose descent into dementia is portrayed with unsettling honesty. Friedland doesn’t shy away from the darker, rarely spoken aspects of the disease, capturing the deeply uncomfortable scene as early as possible. Octogenarian Ruth (Kathleen Chalfant), no longer recognising her own son, begins to flirt with him, her hand reaching for his knee under the dining table. His calamity further exposes the quiet horrors of dementia, where the collapse of memory warps even the most sacred bonds just like a terrible Greek oracle.
Much like Anthony Hopkins’s character in The Father (2020), Ruth regresses to a younger version of herself. Instead of calling for her own mother, she becomes trapped in her young adulthood, confused and alarmed when her middle-aged son, Steve (H John Benjamin), informs her of their relationship. She revisits a long-buried fear of having children, exposing the deep disorientation that ultimately led her son to place her in a nursing facility.
As the feature progresses, it’s clear that age is not just a number but an evolving awareness. Still physically vital, Ruth moves with the energy of a teenager, flirting inappropriately, stealing glances at a possible love interest, and plays around in the care facility’s activities. She resists being treated like a child by her primary carer, Vanessa (Carolyn Michelle Smith), and instead builds a friendship with her. Brief moments of lucidity – such as naming several words that begin with “F” for her clinical evaluation before spiralling or manoeuvring the facility’s kitchen with a practised ease – cruelly tease at normalcy.
The emotional climax comes when Ruth comes to the painful realisation that she will spend the rest of her life in the nursing facility. Shortly after, her son and granddaughter begin clearing out her home, sorting through her possessions as if she were already gone. Rather than offering simple answers, it ends on a poignant note when Ruth’s son gifts her old photographs and diaries for her birthday. She sifts through her own past as if it belongs to someone else, signalling her silent, dignified acceptance in this fractured coming-of-age journey, and leaving the viewer wondering whether one’s identity is shaped more by the lives we’ve lived, the memories we’ve kept or the way we come to terms with both.
Christina Yang
Read more reviews from our London Film Festival coverage here.
For further information about the event visit the London Film Festival website here.
Watch the trailer for Familiar Touch here:
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