Departing from a close analysis of Portrait of Jennie, and with reference to Laura (Preminger, 1944), Corridor of Mirrors (1948), and Vertigo (Hitchcock, 1958), among other films, this chapter lays out my understanding of the term ‘memory’. Expanding on its intricacies, the chapter characterises gothic protagonists as re-collectors whose movements of search drive the films and posits that the gothic aesthetic exists in places and under certain forms that critics do not usually explore. Such is the case with objects: in the course of the films, particular objects stand out from the mise-en-scène and acquire specific properties that shape the onscreen journeys of the characters and our viewing experience. The Gothic, I suggest, builds on the hoarding and retrieval of memories through what I call ‘memory-objects’: objects that stand for or have become memory, including photographs and wax figures. In this sense, my readings construct re-membering as a spatial act and memory as placeable and tangible. In its tangibility, memory might become transmissible, running the risk of being co-opted by others. This strengthens my overarching argument that the aesthetic foregrounds an exilic discourse wherein the self becomes divorced or estranged from its identity as it tries to recover the past.