See Memory
Introduction
Painter Viviane Silverauses art to explore memory and PTSD, animating 30,000 images to provide a visualization of the brain’s process of forming, altering and storing memories. The art is combined with narration based on breakthroughs in neuroscience research by Nobel Laureate Eric Kandel and other scientists to show how we can bridge the conscious and the unconscious brain and heal trauma.
Featured review
Synopsis
See Memory is a groundbreaking 15-minute film by painter and filmmaker Viviane Silvera, who blends art and science to explore the dynamic nature of memory. With a dual degree in psychology, Silvera brings together these two fields to create a captivating visual journey.
See Memory delves into the dynamic reconstructive nature of memory, using the visual power of 30,000 hand-painted stills animated through stop-motion to express complex scientific insights. See Memory brings to life the work of experts including Nobel Laureate Eric Kandel and other leaders in the field of memory research. The visual storytelling highlights the differences between explicit memories (the ones we talk about) and implicit memories (unconscious memories), with evolving brushstrokes shifting in color, mood, and emotion to mirror the brain’s processes of forming, altering, and storing memories.
At the heart of See Memory is an empowering message: memories are flexible, and therapeutic techniques can help individuals reshape their relationship with trauma, fostering healing and self-discovery. The film beautifully illustrates how sharing and processing trauma can lead to emotional freedom.
Reviews
The title was inspired by Oliver Sacks’ article "Speak, Memory" and narration is based on interviews with neuroscientists and psychiatrists, including Nobelist Eric Kandel.
Through interviews with neuroscientists and psychiatrists, including Nobel Laureate Eric Kandel, Viviane Silvera bridges art and science to communicate profound insights about memory.
Awards and Screenings
Director Commentary
Features and Languages
Film Features
- Closed Captioning
- Director's Commentary
- Transcript
Film/Audio Languages
- English
Subtitle/Caption Languages
- English
Promotional Material
Promotional Stills
See Memory began as an exploration of something I’ve been fascinated by for years: the nature of memory itself. As an artist with a background in psychology, I’ve always been captivated by the way we remember, how memories shape our understanding of ourselves, and the ways trauma can disrupt that process. The idea of using art to visualize these abstract concepts came to me as a way to give shape to something that feels almost impossible to grasp — the ever-changing, fluid nature of memory.
The film blends my passion for painting with my desire to understand neuroscience and trauma. The 30,000 hand-painted stills that make up See Memory were animated through stop-motion to create a dynamic, evolving visual language that mirrors the way memory is constantly reconstructed in our minds. Each stroke of the brush represents a moment, an emotion, a shift, and in some cases, a deep fracture — much like what we experience when processing trauma.
Working with experts in neuroscience, such as Nobel Laureate Eric Kandel and Dr. Daniela Schiller, helped shape the scientific foundation of the film. Their work on memory and trauma deeply influenced the way I approached the narrative. Their research illuminated how memories are stored and altered in the brain, and how therapeutic techniques can help individuals reshape their traumatic memories. This is a central message of the film: that memories are not static; they are flexible, and we have the ability to change our relationship with them.
One of the most powerful elements of See Memory is its ability to make these complex scientific concepts relatable. I wanted the film to be a space where art and science meet, where viewers could see how the brain processes and stores memory in a way that was not just informative, but deeply emotional. The visual language I used — evolving brushstrokes, shifting colors, and changing textures — is intended to evoke the emotional experience of memory itself. We don’t just remember facts; we remember feelings, sensations, and sometimes the things we’d rather forget.
As the film progresses, the idea of memory as a tool for healing becomes more evident. We see how sharing and processing trauma can lead to emotional freedom.
See Memory is not just about the science of memory; it’s about how we, as individuals and as a society, engage with our past, especially when that past is marked by trauma. My hope is that the film will inspire viewers to reflect on their own memories and the power they hold in shaping who we are. It’s also an invitation to see that we are not bound by our past — that through therapy, art, and self-discovery, we can change how we relate to our memories, and in doing so, we can heal.
Ultimately, See Memory is about empathy and understanding. It’s about creating a space for people to feel seen and heard, especially those who have experienced trauma. The film speaks to the universal experience of memory, and my deepest wish is that it provides viewers with a sense of connection, hope, and healing.
Viviane Silvera
Director & Filmmaker, See Memory