Joanna Hogg – De Groene Amsterdammer

Tom Burke as Anthony and Honor Swinton Byrne as Julie souvenir (2019)

Agatha A. Nitecka / A24 / Eye Film Museum

Flat, In the deluxe The Knightsbridge area of ​​London is bright and open. The furnishings are modest – beautiful and functional. The rooms are narrow, but the apartment is spacious: on several floors. Everything is white or light, and in the mirror-covered wall separating the living room from the narrow kitchen, all that white and light, the light that enters through the window, multiplies again. Everything has its place: the stereo, the sofa, the round table where people eat. Everything seems to be put together, very precisely. Even when chaos breaks out, in the apartment where the house number L gracefully adorns the front door, there is a constructive element in it. If you take a step back, the doll house will reveal itself, its rooms have been carefully assembled. But who decorated the house like that?

in souvenir (2019), by British director Joanna Hogg, Apartment L is where Julie and Anthony meet for the first time. It’s Jolie’s apartment, funded by her parents, and it’s her party. It’s small, it’s a little bigger. She wears boyish clothes, and does not wear any makeup. She listens to pop music and The New Romantics – Because it’s the ’80s after all. He is just dressed up, cultured. He listens to the opera. She’s a budding filmmaker with a mysterious job – something for ‘External Office’† First we see Anthony from behind, in the shadows, in Julie’s living room wall mirrors. When they first meet, in a sumptuous Rococo-style restaurant, we see him again Anthony appeared, in a striped suit. We hear his touched murmurs. This movie is not like that realistic must be A native tell her. We don’t want to see life as it is he is But as it happens Polite† Only when he turns around to ask for the bill do we see his face for the first time.

At the Film Academy, Jolie works on a raw reality drama set against the backdrop of a mining town. Her teachers ask why they are making a movie about something so far away, and she lights a cigarette again. souvenir It’s the movie Jolie’s teachers wanted to make. It’s the movie Anthony was talking about: a movie that shows life as you live it. Joanna Hogg based souvenir In her private life, the memories that make up the past are as coherent as possible. She created her alter ego, Julie, and in a hangar somewhere outside London she rebuilt her old apartment in Knightsbridge – and turned it into a dollhouse.

Anthony moves in with Julie. When do they fall in love? When do they first accept? He is one and all red flags And the bad feelings, But you understand what you love about him. He took her to Wallace’s group to show her a small oil painting: souvenir By Jean-Honoré Fragonard, a woman carves the initials of her lover’s name into tree bark. “She looks sad,” Julie judges. No, Anthony says, it’s a designer. on me New Yorker “When I was with him I wasn’t making movies, I was doing a movie myself — a genre movie, a Hitchcock movie full of mystery and intrigue,” Hogg says of the man who modeled for Anthony.

“Did you hurt yourself?” Julie asks when you see the scars on Anthony’s arms. play agape: “Yeah, I don’t know what this is.” The few moments we see Julie and Anthony up close are when they look at each other. It’s the moments that she disgusting He. She It seems, what you really dare to look at. He is so tall that he can barely keep his eyes open, and he can barely keep his face still. She’s naive but you understand that’s exactly what he loves about her. ‘please leave’, begging.

“The show had to go on”, Hogg says in The New Yorker. Before Anthony took Jolie to Venice, he had a suit made for her. They’re carrying a set bag, and packing her a prom dress. sings on the train: “How sad a gun can be / When you are alone / How sad a gun can be / When you are alone.” In an Italian Baroque hotel room, Jolie is with Anthony, and yet she is lonely. She sits next to her suitcase, in her custom-made suit, and weeps.

Hogg plays a subtle game – with real and unreal present and memory, inside and out

“And there was so much on offer”, Hough says. In Venice, Julie and Anthony entered the stage through thick red curtains, in a tuxedo, in a gold strapless dress – as if not the audience, but the actors. “A lot of dreams”, Hogg says, “All ideas. He was creating a work piece. souvenir Do this dream and all those thoughts. It is the beginning in which a loved one is carved on a tree, a love letter, a keepsake – a keepsake. It reconstructs the past and at the same time examines the reconstruction itself. Because how does memory actually work? Which moments will survive? Do you still remember your first kiss or is his face shrouded in shadows? Do you only see his back? movie is not necessary truly To be, as Anthony says honest to be.

At the end of souvenir We see Julie recording a monologue speaking directly into the camera. As the camera slowly moves toward the actress, with the crew following behind, Hough’s camera moves toward Julie at the same pace. This is the moment when two realities intersect. That’s when we step back and see the building for what it is. The large barn doors open. Julie steps outside, leaving the dollhouse. After the credits, an advertisement appears on the screen: “The Souvenir: Part Two almost.’

In Remembrance: Part Two (2021) It’s summer. Everything is white and light. There is the sun, the delicate white flower, the earth under your feet. Julie starts a new life without Anthony. where the first part of souvenir It was a drama, the second part more delicate. While the first part reconstructs the past, the second part is all about reconstruction. We see how Jolie handles her relationship with Anthony in her graduation film; How an actress dumped herself, moved her bed to the filming location. She recreates her apartment like a doll’s house, including the ornate letter L on the front door. In the first part, Jolie stepped outside, and in the second, she brought the outside world inside.

Joanna Hogg was 47 years old when she made her first feature film after working as a director for music videos and TV series. Her works are small (three films plus Souvenirs) It consists of mini films. mini movies about mini dramas; About how people relate to each other, how they fit together, or, conversely, fall apart. In order to stay as close to reality as possible, and use his small budgets as efficiently as possible, Hogg developed a unique way of working. She uses a short plot synopsis instead of the script, and runs her scenes in chronological order. It creates the conditions that help its actors put themselves in the shoes of their characters. Shakespeare actor Tom Burke was cast as the pompous Anthony and the honorless Swinton Byrne as the naive Julie. The first threw his explosive theatrical glee at his role, and the second threw her open-mindedness. “It’s completely from the inside out”, Production designer Hoggs . said New Yorker by her way, “Rather than from the outside in.”

It is very unusual Borrow equipment for your movie if you don’t already have your budget in order, says Julie’s teacher. But – he lights a cigarette – you don’t have to worry about money for anyone who can buy an apartment in Knightsbridge. Julie faces prejudice upper middle class The background, about her femininity, about the kind of movie she wants to make: unassuming, unassuming, subtle. She gets into a fight with her photographer, who gets frustrated with her loose work style. Hogg shows Julie scattering sorry’s. She envelopes herself in sullen silence and vomits due to impotence.

The Remembrance: Part Two It is an unassuming, unassuming, subtle film. It is a film that does not open windows to the world, but rather examines reality down to the millimeter – in a doll’s house. Is this usually feminine? And Julie, is she a typical woman? Is her photographer controlling or is she insecure? Hogg shows that all of this is true. That Julie, like the woman in Fragonard’s painting, is sad and stubborn at the same time. You can also tighten your muscles if you are modest. Hogg applauds the student, Patrick, and allows him to give in to his arrogance. The Damn you Hogg’s part is that she incorporates scenes from Patrick’s theory into her own film, as if to say: I can do it, make something big, flashy ambition, but I choose not to. Instead, Hogg outfitted her dollhouse, and asked: What does ambition actually look like? What does the movie show look like? In her dollhouse, Hogg plays a delicate game – with present and memory, real and unreal, inside and out. He’s underappreciated, ambitious, and utterly stunning.

The Remembrance: Part Two Close with a song: Back to Life From the second soul, the soul (“Back to life, back to reality”) – But the story continues. Once again two realities intersect, fiction is inseparable from reality. in souvenir Julie looked us straight in the eye The second part Is it Hough’s voice declaring that the story is over: ‘Attractive!’

The Remembrance: Part Two It can be watched from June 30 at Eye in Amsterdam and in several other theaters as part of the previously unreleased program. For this occasion there are also offers souvenir

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