MEMORIES OF LOVE RETURNED: moments preserved

Photo caption: MEMORIES OF LOVE RETURNED. Courtesy of Slamdance.

The fine documentary Memories of Love Returned is the result of an accidental meeting. On a 2002 trip to his native Uganda, actor Ntare Guma Mbaho Mwine (Treme, The Chi, The Lincoln Lawyer) happened upon a rural studio portrait photographer named Kibaate. Over a span of decades, Kibaate had documented everyday people over decades in thousands of portrait, many of them stunningly evocative. Mwine helped Kibaate preserve his body of work, and, after Kibaate’s death 20 years later, organized a public showcase of Kibaate’s collection.

The revelation of the unknown Kibaate as an artistic genius, is a compelling enough story, but the exhibition prompts a complicated and sometimes awkward exploration of Kibaate’s siring a prodigious number of children with a bevy of surviving mothers. The filmmaker’s own health and family story takes Memories of Love Returned seamlessly into another direction, topped off by Kibaate’s documentation of Ugandan LGBTQ culture.

Memories of Love Returned is the second documentary feature directed by Mwine. Executive-produced by Steven Soderberrgh, the film has been piling up awards from film festivals. I screened Memories of Love Returned for Slamdance.

Through March 7, 2025, you can stream Memories of Love Returned on the Slamdance Slamdance Channel. A 2025 Slamdance Film Festival Virtual Pass, which brings you Memories of Love Returned and almost all of my Slamdance recommendations, only costs $50.

Finding Vivian Maier: hiding her own masterpieces

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The engrossing documentary Finding Vivian Maier begins with the death of a Chicago woman so obscure that none of her neighbors knew her name.  She was a standoffish hoarder, and when a box of her junk is acquired at an estate auction, the buyer, a picker named John Maloof, finds lots and lots of photographs.  He posts some of them on the Internet, and it turns out that the woman was, hitherto undiscovered, one of the great 20th Century photographers.  So Maloof acquires the other boxes from the auction and embarks on a quest to find out who she was, why she took over 100,000 images and why she never showed them. Fortunately, we get to come along.

We quickly learn that her name was Vivian Maier, and that she worked as a nanny.   As Maloof’s journey of discovery takes us to another city and then to another country, we begin to piece together her life.  Because Maier lived with families to raise their children, we meet some of her former charges. We are able to construct what she looked and sounded like, how she dressed and walked and about her array of eccentricities.  We learn about a very disturbing dark side.

But Maier remained secretive even inside the families’ homes, so some of the puzzle pieces remain undiscovered.  We can infer that a pivotal event happened during her childhood.  We conclusively find out that she was obsessively private, but we can only guess why.

Vivian Maier is no longer obscure.  Her work is now shown widely in museums and galleries.  As a photographer, she had an uncommon gift to connect personally with her subjects and to document the humor and tragedy of the most human moments.  In the guise of a detective story, Finding Vivian Maier does her justice.


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