In Calendar, directed by Atom Egoyan we see the photographer reliving several moments of his life, through different devices, such as the calendar, videotape, photographs and dates. The story is told from only three locations: In Armenia, in the photographer’s dining room, and by the photographer’s answering machine. The photographer’s answering machine sits beside the Armenian calendar, which marks the passage of time throughout the movie. The calendar on the wall changes, but how much of this is part of the photographer’s ritual of recovery isn’t known. His wife calls at the beginning to say she’s received the calendar, and at the end to say she’s taking it down. Throughout the film he has dates in his home and it is revealed on the last date that these dates were all staged. The dates were set up prior and there was a pattern, they would eat, converse, and the woman would excuse herself and use the phone. This was his way of finding a woman who sounded like his wife. I truthfully find it a little weird that he’s having “staged dates” but this is his own way of reliving the memories of his dates with his wife. What’s been lost is both place and time. In the end he still lost his wife and she isn’t returning and that’s why his reminiscing on past memories of places and times. Memory and recording succeeded these memories.
Nelson, Tollof. “Passing Time in Intercultural Cinema:.” Muse. Substance, 2005. Web. 3 May 2011.