Location:Home > Ladies underwear > can be described as chamber plays about the British bourgeoisie

can be described as chamber plays about the British bourgeoisie

Time:2019-05-17 05:30Underwear site information Click:

keyword 1 keyword 2 keyword 3

 can be described as chamber plays about the British bourgeoisie

Object Lessons
By Clara Miranda Scherffig

The Souvenir
Dir. Joanna Hogg, U.K., A24

Rarely does a film come along that one wishes would never end. One litmus test for measuring a movie’s success lies in an uncanny feeling only the viewer can discern: do I long to return to my life, or am I rapt here in the theater, in company of these images and stories?

Joanna Hogg’s The Souvenir is a memorable cinematic lesson, so rich and articulated to be better described as lived rather than seen. The emotional ecstasy it evokes is like falling in love for the first time. Indeed the film revolves around the burgeoning relationship between a young woman, Julie (Honor Swinton Byrne), and a young man, Anthony (Tom Burke). Julie is a film student in London in the early ’80s, and as we are introduced to her aspirations, it becomes clear that The Souvenir is as much about experiencing first love as it is about remembering it: a memoir in the form of fiction. It’s one-of-a-kind though, for the truly accomplished fabrications of the film originate in its most autobiographical qualities.

Hogg made three feature films prior to The Souvenir—­Unrelated (2007), Archipelago (2012) and Exhibition (2013)—following a career as a dramatic TV director. Her debut was her graduation short at London’s National Film and Television School in 1986, Caprice, starring an unknown Tilda Swinton, a close friend of Hogg’s whose career would soon be launched by Derek Jarman’s Caravaggio. Little information can be found about the short, a “science fiction” film with a thin logline reading, “A girl finds herself inside a fashion magazine.” Thirty-three years on, the lead in The Souvenir is Swinton’s 21-year-old daughter, Honor, in her first leading role, and Swinton senior plays Swinton junior’s mother. Elsewhere, Hogg drew fully and literally from her personal life to shoot a film about the experience that led her to become a filmmaker.

The title comes from the painting of the same name by Jean-Honoré Fragonard, exhibited at the Wallace Collection. Anthony ushers Julie through the gilded gallery to see the artwork on one of their first dates. As in Hogg’s other films, the characters appear caught equally in the midst of casual interactions and life-changing events. And like those films, especially Exhibition (2013), the narrative is mysterious; information is withheld and gaps are disseminated throughout. When we first meet Anthony we have already seen Julie with her art-student friends who gather at her apartment in Knightsbridge. Despite being a young employee at the Foreign Office, distant from Julie’s creative crowd, Anthony has strong opinions about art and film. A dandy in eccentric attire, sporting velvet loafers and striped socks in Paul Smith palettes, he likes the works of Michael Powell and Emeric Pressburger and questions Julie’s idea of “honest cinema” by telling her that “we don’t want to see life played out as it is.” We know that Hogg herself was influenced by those two British directors, but as a filmmaker she responds to Anthony’s statement by showing that the opposite is possible. Real life stories can be told through random fragments and glimpses, just like memory. The Souvenir’s diegesis and editing style mirror the idiosyncratic nature of “life as it is” when we replay it in our mind. At the same time, this opens up the possibility for viewers to fill in the gaps and decide for themselves. The film becomes a collaborative experience, an assumption that wonderfully matches the worlds brought to the screen by Hogg. If we could show Anthony The Souvenir today, it would demonstrate what a happy marriage it is: life played out as it was, yet fictionalized each time in a different thread by a new onlooker.

Julie and Anthony’s romance develops through the classic steps of modern courtship. He gifts her with sexy lingerie, which she sports with an ironic air that belies her pride at embodying an object of desire for the first time. Julie introduces Anthony to her wealthy parents, who live with their hunting dogs in a countryside villa carpeted with pastel highlights, a comfortable cocoon that is the perfect correlative of their Commonwealth-y social status. Anthony escorts Julie on a sensual, luxurious trip to Venice, both a reference to his old-fashioned, Grand Tour-inspired lifestyle and a harbinger of the decadent dread that sets upon them when they return home. As he subtly moves into her apartment, the set design (masterfully created by Stéphane Collonge) tracks the invasion. Furniture is rearranged, chandeliers replace simple lamps, and a massive wicker bed appears in the bedroom. When her flat is broken into, naïve Julie starts to pick up on the hints we’ve been collecting thus far: Anthony’s frequent borrowing of money, his occasional disappearances, the scarce details of his private life. The one time that Anthony does bring a friend around for dinner, it’s an obnoxiously arrogant filmmaker (a hilarious cameo from British comedian Richard Ayoade) who condescendingly insinuates Anthony’s heroin addiction.

Copyright infringement? Click Here!

Related reading
Related recommend