After establishing a theoretical framework from rhetoric, memory, film, and media studies, this chapter examines stop-motion films with implicit and explicit themes of memory, dream, and amnesia from the Quay Brothers and Hiraki Sawa. Phenomenological and heuristic approaches are developed for how these films function and demonstrate how animated objects present relational actants that interpret, reify, or represent dreamed or lost memory in a diegesis shared with human actors. Jane Bennett’s notion of “thing power” (2010) further underpins a discussion of how stop-motion animation can visually articulate intangible, invisible memory as memoria rerum—the memory of things.