Greetings again from the darkness. We tend to think of ‘coming-of-age’ movies as centered on teenagers as they face the challenges of transitioning into adulthood. The reality is that folks come of age during different phases of life (and some seemingly never do). Filmmaker Joanna Hogg continues her autobiographical look back with the follow-up to her exceptional 2019 arthouse film. Is it a sequel? Technically, yes; but it’s more of a continuation, and the two parts actually function best as a single 4-hour story.
Starting off shortly after the first movie ended, part two finds Julie (Honor Swinton Byrne) in bed at her parents’ house. They try to comfort her as she grieves the death of Anthony (played so well in the first by Tom Burke). For those who have not seen the 2019 film, I’ll tread lightly as it should be seen prior to this one due to the continuing story line and numerous references. Despite her confusion and despondency, Julie heads back to film school. Using art to deal with her emotions, she starts all over with the script for her graduation film. The Film School committee of like-minded middle-aged men thrash her idea of dealing with her situation on film. Despite their harsh words, she persists.
For such a ‘quiet’ movie, it’s astonishing how many things are going on in Ms. Hogg’s film and in Julie’s world. The jealousies of film school students are noted, as are the discrepancies between overly confident young filmmakers (a brilliant Richard Ayoade) and those still trying to find their voice (Julie). Ayoade’s arrogant Patrick is recognizable to us as a big production filmmaker in the vein of many who have come before him. On the other hand, Julie stumbles over how best to convey the emotions for the actors in her film … a film that is so personal she’s dealing with memories even while setting up scenes.
Honor Swinton Byrne (Tilda Swinton’s daughter) excels at relaying a certain sadness in Julie as she pushes onward. Anthony’s ghost hovers everywhere for her. She bravely visits his parents. The confusion over Anthony’s story, and her shock at not having recognized the signs, are exemplified as she presents the common façade of appearing OK while struggling inside. Julie’s parents, played by (the always great) Tilda Swinton and James Spencer Ashworth walk on egg shells around her, while trying to offer support, despite their detachment – not just from the relationship, but from Julie’s life in general (other than lending her money in times of need).
Supporting work comes from Charlie Heaton, Harris Dickinson, and Ariane Labed, as student actors. In Julie’s film, Ms. Labed plays the role of Julie, which in reality, is the role of Ms. Hogg as a young aspiring filmmaker. Joe Alwyn has a terrific cameo as Julie’s editor in one of the most awkward and tender scenes. Ms. Hogg did not film the two parts simultaneously, but her style is so unique (as an example, songs cut off abruptly mid-scene) that it’s a challenge not to rave about the look and feel. Her talented collaborators include Film Editor Helle le Fevre, who serves up some creative transitions; Production Designer Stephane Collonge, whose sets are crucial in a film with minimal dialogue; and Cinematographer David Radeker whose lensing gives the film the perfect look for its time. Tilda Swinton stars in Ms. Hogg’s upcoming film, THE ETERNAL DAUGHTER; however, we will have to be patient to see if Honor Swinton Byrne continues to pursue acting, a profession to which she seems destined.
In theaters beginning November 12, 2021
*link to my review of THE SOUVENIR (2019)