A determined neurologist fights to prove his groundbreaking melodic therapy when a once-renowned pianist, unable to recognize faces due to visual agnosia, struggles to reconnect with his wife and his identity—forcing them all to confront the limits of memory, music, and love.

SYNOPSIS:

Set in a bustling 1980s hospital, Faces follows Dr. Edward Redwood, an introverted

neurologist with a background in research who’s determined to prove his innovative methods

in a real-world setting. On his first day, Redwood encounters Victor Tan, a once-renowned

concert pianist now suffering from visual agnosia, unable to recognize faces or ordinary

objects. Victor’s wife, Sarah, is torn between hope and heartbreak, as each day reminds her

that her husband can see but cannot truly perceive her anymore.

Undeterred by Dr. Keller’s budgetary constraints and skepticism, Redwood devises a

melodic therapy approach. Teaming with the compassionate Nurse Morgan, he introduces

short, personalized musical motifs for Victor to associate with key people and objects, hoping

to bypass his impaired visual pathways. Early sparks of progress renew Victor’s and Sarah’s

hope, but unforeseen setbacks—particularly a jarring meltdown when Victor fails to

recognize Sarah—threaten Redwood’s entire effort. Under mounting pressure from Keller to

deliver measurable results, Redwood refines the therapy into smaller “micro-sessions,”

carefully balancing the need for accelerated progress with the risk of overloading Victor.

Despite lingering uncertainties and no promise of a complete cure, Redwood’s experimental

method yields tangible improvements: Victor identifies simple objects and, crucially,

reestablishes emotional connections through musical cues. In the climactic scene, Victor

performs a gentle piano piece for a modest hospital audience—still prone to moments of

confusion, yet profoundly changed by the melodic therapy. The film ends on a bittersweet

note, with Victor’s regained sense of identity resonating through the keys, and Redwood,

Sarah, and Morgan accepting that progress, not perfection, is what truly matters.