There are some actors who always put the work in, and although they may definitely get the plaudits, they may not necessarily get the roles they deserve. And Jessica Chastain is one of them.

She is a remarkable talent, in the mould of a Julia Roberts, who, despite having won an Oscar (for best Actress in the Eyes of Tammy Faye), and being named as one of Time’s 100 Most Influential People in the World in 2012, has yet to become a household name. And this intelligent, heartbreaking film won’t change that.

Looking after adults with learning difficulties is social worker Sylvia. She also happens to be a single parent, to her teen daughter Anna (Brooke Timber), as well as a recovering alcoholic who has remained sober these past thirteen years.

Her sister Olivia (Merritt Wever) manages to persuade her to attend a high school reunion, which it turns out, was just as awkward and uncomfortable as she expected. It’s made worse when she’s approached by a man, former student Saul (Peter Sarsgaard), who then follows her home after she leaves. She doesn’t exactly have fond memories of him, to the contrary, and is certainly distressed by his appearance.

She then finds him, in the morning, still outside her home, in a somewhat distressed state of his own.

It’s the start of a difficult relationship, in a landscape of difficult relationships, but it just might be her answer to everything.

Mexican director Michel Franco’s feature, which he’s also written, is an undeniably harrowing ordeal. It is a film that features so many broken souls, that a traditional Hollywood happy ending is unlikely, despite an audience’s desperate hope for one.

There are so many fractured relationships, deep within families, that the layers of darkness and unfortunate circumstances revealed, make for quite an emotional body blow, one after the other.

The main key to it however, are the duality of memories featured: that of Sylvia’s attempt to suppress hers from her high school past, and Saul, suffering from early dementia, trying to recall any of his. It sounds a little clunky, but Franco handles it admirably.

Chastain is magnificent, playing a character so visibly vulnerable, you just want to collectively put your hands around her and protect her as best you can. Sarsgaard is excellent too, in a role that is surrounded by ambiguity – is he another victim, or something more sinister.

It should also be mentioned that Merritt Wever’s appearance is a welcome one; since her break-out role as the uber charming Zoey in TV’s Nurse Jackie, she has yet to follow up with the superior role her talent deserves, but her supporting role here is great to see nonetheless.

There is a strange beauty to this film throughout, that equally fascinates and distresses, with an almost overwhelming abundance of emotions colouring the drama, that are almost suffocating. And yet you wouldn’t want it any other way.

Chastain is exceptional, in yet another powerful role that is likely to go under the radar, with the actress seemingly keen on just going where the decent roles are, regardless of whether they’re a AAA Hollywood title or not.

But her role her in Memory is much like many of her others, in being one that will be long remembered for those fortunate enough to catch it.