of Joanna Hogg Eternal daughter Among other things, she is a spiritual follower of the latest amazing movies Memorial Day (2019) and Part II of the commemoration (2021) Those films followed Julie Hart, a young filmmaker who, in a somewhat autobiographical fashion with Hogg herself, reminisced about meeting a charismatic, troubled drug addict, attending film school in England in the 1980s, and trying to make a career as an artist. to her own identity under the conflicted but supportive eyes of her parents and friends. In those films, Julie was played by Honor Swinton Byrne. The character’s mother is played by Tilda Swinton, the artist’s real-life mother. In other words, it was already having a terrifying, sensational resonance. Memorial gift films, with Byrne loosely playing the director’s version and Swinton standing in for both of their mothers, but fiction.

in Eternal daughter, Hogg saw Julie again in her life. And Tilda Swinton was cast as Julie And Her mother, both of them, like two separate but united minds of one person. Now, we see the entire project collapse in on itself in one spectacular turn. Eternal daughter It is not called Part III of the commemoration It’s a good reason. It is set in its own direction. But this film, with its subtle, decidedly sad touches, is haunted by what has come before.

Like other movies, Eternal daughter It is a film about reality and the haunted duality: memory. But on the surface, this new chapter is old Gothic. This is the first thing that sets it apart from its predecessors. Julie Hart (Swinton) and her mother Rosalind (Swinton, again) escape to an 18th-century hotel to at least celebrate the old lady’s birthday. The configuration option is highlighted. Rosalind has memories in this hotel; She spent her childhood here during the war. Julie is trying to write a film about her relationship with her mother, and she thinks this is the place, where this loving but emotionally charged woman can tell her about her past. She believes her mother has happy memories here and wants to need them, the way anyone who asks about their parents’ lives early on really tries to understand them. But Rosalind, who mostly keeps to her bed during their stay, has no fond memories to share. She brings to mind what the hotel brings to mind: memories of war and loss, a whole set of experiences that she doesn’t fully understand because her son isn’t waiting for her. There’s a whole life to her mother that Julie doesn’t know. Asking about that life is a personal gesture. The hope is that Julie can turn the personal into art—something that transcends both.

Old hotels sit in vast, misty, isolated places but seem otherworldly, inhabited by some, whether they really are or not. There’s no controlling what kind of spirits this place might stir up in Julie’s mom. But what are ghosts? Eternal daughter He has it in the store. The film opens with headlights cutting across the night, far off in the distance, drifting into the fog. At this moment, mother and daughter are going to the hotel in a hired car. They are treated to the ghost story of their driver, whose memory is haunted by their surroundings. Eternal daughter A film where the environment is crowded, vividly and dramatically revealed is its own characteristic. There’s the old hotel, the green exit lights at night, the narrow corridors, the staircase that invites visual confusion, the clutter of the old house, the doors that can’t be opened or closed without revealing their age, and that fog. So real, vast and thick as to suffocate any view of the surrounding greenery at night. Looks like we’re in the middle. There’s something to it all – the hotel is empty but for a young dry-humored receptionist who works by day (played by Carly-Sophia Davis) and a friendly groundskeeper (Joseph Middel) who watches over the property by night. Our intimate sense of the outside world reaches only the loosest tethers: Julie calls to her husband, whose voice he never hears; The hospitable lover she picks up every night, and the evil behind the wheel and the loud music is almost a fully formed personality. And a cousin of the Harts named Alastair, who pays a very quick and unwelcome visit. Sandwiched between Julie and Rosalind’s legs is the mother’s beloved dog, a gentle springer spaniel named Louis.

The rest, as they say, is the noise Julie spends most of the film searching for, the eerie sounds, desperate to understand the source – to understand that this place is as haunted as it seems. The drama of Eternal daughter It’s delightfully, purposefully thin. Stretching doesn’t tell you much. Julie wandered around the old hotel, scoffing at the atmosphere. During each stay, she sneaks into a room high in the building — the only place with a reliable Wi-Fi signal — to try to work on her script. Mother and daughter dine in a dining room they have entirely to themselves. They talk every morning and night, engulfing their bodies in the patterns of flowers they throw on the floor of their rooms. Julie asks questions about her mother’s memories of this place. She ritualistically calls her husband while walking her mother’s dog at night. The dog barks constantly; One day he escapes from their hotel room. While looking for the dog, Julie befriends the groundskeeper. She has an ongoing relationship with the young receptionist. She sees a ghost in the window, or so she thinks she does. And then the film reaches its final stage, her mother’s birthday.

How can a film that seems to do so little add up to so much? It’s because the story beats it all – the psychological warfare quietly going on underneath it all. (Again, in keeping with the Gothic mode.) The idea seems to be that through this project, Julie will always keep her bond with her mother alive. By performing this process of understanding, she thinks she can truly understand. This is the mother who is always trying to please – always trying to please, as we can see. Thus: eternal daughter. She will always be a hard working girl. what What makes Hogg’s film dramatic is Julie’s tired, yet dutiful, recognition that her mother, however loving, is always just a hair’s breadth out of reach.

Tilda Swinton in “Eternal Girl”.

A24

Eternal daughter It’s not the kind of movie that encourages us to look for clues to what’s “really” going on. But he certainly plays with this idea. It arouses suspicion. For the improbable emptiness of this hotel, there’s artifice in scenes where Tilda Swinton has long conversations with Tilda Swinton – which keeps us on our guard, as Hogg slowly slips away at us. The hotel is full of mirrors, from the small ovules hanging in the halls to the young receptionist’s compact, the multi-faced vanity in Rosalind and Julie’s bedroom, and even the windows Julie always catches herself looking out of. . Every time we look at these mirrors, we and Julie feel haunted by what’s about to be revealed – captured, glimpsed out of the corner of our eyes, never seen.

What is Joanna Hogg revealed? Eternal daughter It’s not a ghost she needs to be exposed to, but a hard truth Julie must learn to reconcile for herself. Hog’s genius, which appears more and more in each successive chapter Memorial gift Movies, to remind us that movies are a place of dreams, always a ghostly fiction two steps removed from reality. There’s life, there’s memory, and there’s the film—a copy of a copy, at best, damaged and incomplete and surprisingly rich in itself. The way she got into this idea was not by diving straight into fantasy, but the other way around. She uses what appears to be real only to erode the boundaries between what is real and what isn’t, distorting time, sound, and image until that reality is revealed to be fabricated. Check out the amazing hop-jump in the first events Memorial gift Film, like turning the pages of a photo album and dwelling on the memories that come to mind with each image. There, we’re not watching a replay of the real mind, but we feel like we are, like we’re watching a movie, a self-conscious imitation of how the mind works.

Eternal daughterThe sense of delusion is growing stronger. The art of it all starts to feel unnatural, like we’re trapped in the vacuum Julie created, or rather, sitting on a movie set sound stage next to fog machines. Tilda Swinton and the rest of the cast are really flesh and blood. They develop real feelings; Even the receptionist sympathizes with her, seeing what’s going on late in the film. But the 16mm lens captures Ed Rutherford’s moments of incredible clarity – the fog floats by so quickly, it feels completely natural – even as the beauty of all the touches convince us otherwise, it’s all real, maybe ghosts are real too. The sound design transports us into this world, surrounding every image and making it beyond our grasp, so we can’t help but wonder if it’s not just her devious mind playing tricks on itself. (The turning of the wheel It comes immediately and never comes back to mind.) And these odd and sleight-of-hand touches disturb the margins of this story. Watching Eternal daughter Julie’s stay at the hotel with her mother can make you feel like you’re watching the movie you’ve been working on the whole time. Only you see it superimposed on the real events, the real journey, the real memory. Julie is living something, not living it. Isn’t she? Eternal daughter Filmmaking makes a case for satisfying that need to remember and recreate.

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Who better to star in a project like this than an actress who’s as convincing as the reality star is in her artistic self-awareness? Tilda Swinton’s ability to push those boundaries has been evident since her career began, for example in her amazing collaborations with the likes of Derek Jarman, which remains one of her most piercing careers. It is not enough to say that she has this new movie. She it is. The movie. Through her, the project closes the gap between reality and the other. As both Julie and Rosalind, she couldn’t be more fun to watch. Julie’s gentle neuroticism, Rosalind’s closed-door interior life – there’s a lot for this type of actress to chew on.

But this is no ordinary trick. Make-up and clothing separate Julie and her mother, and a change to Swinton’s voice (deep and breathy and more patient for Rosalind) further separates them. But what really separates them is the emotional world that Swinton has developed for each of them. They are not just mother and daughter, but something bigger, even archetypes. of Mother – loving but forbidding, indifferent but not cold – and of A girl, on the edge of such stubbornness, frustrated and loyal, needy and in the dark. Julie talks about one main thing in particular. Some universal needs. Eternal daughter Through a long process of self-delusion, he brings this out of her. Hogg’s style is deceptively easy to film scenes of Tilda and Tilda together, in shot/reverse shots, with one person leaning against the screen and then the other, rather than using digital magic to fit them into the same frame. At the same time. In that simplicity, however, it is a general, bold idea: division – visual, physical, psychic – between these women, Julie feels the most. Eternal daughter It’s about Julie’s attempt to break through that barrier, to reach the other side. To actually access this other part of herself. The genius of the film is how far Hogg lets her go. Because his emotions always have limits.



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