Memory is inextricably linked to artistic expression. The body has memory.
Andre Bazin was one of the first to theorise that film had memory derived from the notion of preservation of the corporeal body and the concept of likeness of the real which is deeply embedded in the eternity of nature. Two temporalities exist, the horizontal realm of instance and the vertical realm of eternity.
On the cinematic surface the physical bodies of the actors exist under the weight of memory, their movements, gestures, and facial expressions all reflect the mental terrain of what has gone before and are the foundation of what comes after.