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Film maker Julie (Tilda Swinton) brings her mother, Rosalind (also Tilda Swinton) to an old hotel in the countryside as it approaches her birthday, hoping to make a film about her. This was Rosalind's family home when she was young and Julie hopes this will help her recall events from her youth. It does though resurrect uncomfortable memories for both of them.

I'm not an unqualified fan of Hogg's work and indeed here it more or less seemed clear story wise what the direction of travel was going to be. So whilst this is more drama about mother / daughter relationships and the sadness of our past, it is also a creepy, atmospheric ghost story full of really fun ideas - why are they seemingly the only guests, what's with the rude receptionist / waitress etc. It's never scary - not that sort of film - but ultimately it all works and fits nicely together thanks to Hogg's direction and 2 excellent performances by Swinton.

Honestly. If anyone says "Oh Darling!" one more time! Tilda Swinton is "Julie", a film-maker with a bit of writer's block who takes her elderly mother (I think she is called "Rosamund" but anyway, think Tilda Swinton but this time in a bit of latex and some of Margaret Thatcher's attire) to a remote country hotel. It turns out that this used to be a family home for her mother and she spent much of her younger life there with her aunt. From room to room they reminisce about what it used to be, what went on here - all whilst the wind outside blows as if we were watching "Black Narcissus" (1947). What happens now? Well, very little... There is lots of desperately polite and earnest dialogue - beetroot or feta? - as the two women edge ever closer to a birthday that is clearly tinged with increasingly sad, but unspecified, memories. The denouement - well it's a surprise to nobody, not even the frequently scene-stealing "Louis" (Swinton's own dog). Carly-Sophia Davies is quite effective as the downright disinterested hotel receptionist but that's about all we have to inject any life into this rather charmless and disappointing "ghost" story that really does underwhelm. Joanna Hogg definitely has a safe zone for her films. Well-heeled English folks in the media industry with even more well-heeled parents who all live in a world with little to do with any reality most of us will ever be able to relate to. A repetitive flute refrain does all that it can to introduce some mystery, but by half way through I was just "You are very welcome"'d out. It will look just as good on the television as it does on cinema screen so I'd save your cash, if I were you.

One effective way to tell a tale of suspense is to employ the atmospheric slowburn approach, one that quietly but chillingly sizzles as it leads up to what is eventually (and supposedly) a startling revelation. However, writer-director Joanna Hogg's attempt at pulling this off in her latest offering falls short, protractedly smoldering but never really catching fire. When a middle-aged English filmmaker and her aging mother (dual roles played by Tilda Swinton) pay a hoped-for nostalgic visit to a vintage country hotel that was once their extended family's manor house, they set their sights on their stay giving them a chance to relive fond memories and to resolve certain aspects of their complex, sometimes-distant relationship (an irony given the devoted daughter's earnest attempt at being a loving, dutiful caretaker). But, almost from the moment they arrive, things don't play out as anticipated; events unfold with a surreal, unfathomable awkwardness in a setting befitting a gothic ghost story. So what's going on here? That's what the film seeks to explain. Unfortunately, there's not a whole lot to tell here, the story ultimately being more tedious than suspenseful, frequently relying on astonished reaction shots to things that mysteriously go bump in the night to carry the story forward. And, when "the big reveal" finally comes, it emerges more with a whimper than a bang (especially since it's not particularly difficult to figure out what's coming anyway). While the film is stylistic to a fault in terms of skillfully creating a suitable ambiance, the accompanying narrative is rather anemic by comparison. It's almost as if the storyteller is spinning a vague yarn, one told with kid gloves, a nagging frustration for those expecting something with more of a bite to it. While there's a definite purpose behind this, given the picture's attempt at exploring elements of the mother-daughter relationship typically not addressed in films like this, this set of restrained attributes nevertheless inhibits this offering from ever developing much of an edge to it (yawn). To the film's credit, it features yet another fine performance by Swinton, but it's regrettable that she's not given much to work with. And, even with its comparatively short 1:36:00 runtime, the picture somehow manages to seem like it's far longer. Indeed, in this case, "eternal" is something applicable to more than just the wording of its title.

There's a hotel that's quite vacant and disturbed, full of ghosts that haunt themselves, it's quite absurd, lots of creepy mist and fog, a really, really lovely dog, and a receptionist presents with some discord. A daughter with her mother settle in, proceed to babble on, the dialogue's quite thin, if you'd made a reservation, you'd need more than just salvation, if you had the room next door, double or twin. There's little to engage or get you thinking, as events unfold, or don't, you'll just start blinking, then your eyelids slowly close, just like Louis you will repose, and into slumber, start to fall, gradually sinking.

A film with Tilda Swinton is always worth watching and so is this one! Though I have to say that I expected a little bit more after I read about the film at the Viennale (Vienna International Film Festival). What irritated me were the tags ghost story, supernatural, spooky and so on. Not that I expected a real horror movie, far from it. But not such a lame attempt of a ghost story.

The film starts out with a scene of a foggy country street and a lonely taxi coming along, quite evocative of old Hammer films of the sixties or early seventies. The main setting in an old country mansion turned hotel was a good choice. As was the rather unfriendly receptionist/waitress/housekeeper who raises a lot of questions in the mind of the viewer and is a highlight of the film. The mother and daughter conflict is very subtly done and evolves beautifully the longer they stay at the hotel, and the absence of other guests is quite unsettling.

But, being in a lonely hotel would make even completely relaxed people jumpy and here we have someone who is in a very difficult stage of her life and we could expect much more unusual things for her to hear or see other than what we get here. Tilda Swinton does her best to make us fell uncomfortable, but with this script there is not much to do. A little fog, some creaky trees and a shot of the moon, my, this is what you get in every other episode of Midsomer Murders, I am sorry to say! That is not upsetting or disturbing anymore, in fact it is a cliché and more of a parody. Besides, we all have seen films of people in empty hotels before and therefore you have to bring some new ideas to this setting.

When the film ended I was disappointed, there would have been chances to lead the viewer around but they are missed. I have guessed from the beginning what is reveiled at the end and that did not satisfy me either, I hoped that some twist eluded me, but no.

'The Eternal Daughter' is listed as a mystery drama. The only mystery I had an hour into the film was what exactly the point of me watching it was supposed to be. The film has no plot. It has no intrigue. It has no purpose to exist. This was a very disappointing experience.

Short of Tilda Swinton (in dual roles) being her usual watchable self it was pretty hard to find redeeming qualities in this film. It's is extremely slow - which is always going to be the case when we are effectively just watching a woman's uneventful stay at a hotel.

Thankfully this one is reasonably short, but I can tell you those 96 minutes will draaag. A generous 4/10.

I am shocked to see the negativity in so many of these reviews - personally, the movie blew me away and I thought it was quite fabulous.

It is an understated story portraying entirely one woman's psychological and emotional state at a particular point in her life. All of the scenery, the direction, the pace, the objects, the marvellous cinematography perfectly came together as a crystallized whole. The entire atmosphere of the movie can be thought of as an externalization of the protagonist's mind, her character traits, and her feeling of 'lowkey' entrapment.

There's not much by way of a plot, and there's not a second where the movie speeds up - it moves at its own languid, disquieting pace from start to finish. Much is left unsaid, unexplained - there is little solid structure to latch onto, so the only way to watch this movie is to surrender to Swinton's terrific + intelligent performance and let the scenes speak for themselves.

(Oh, and I thought the 'twist' was brilliant - it really elevated the entire movie for me.)

Normally I like most of the movies Tilda Swinton starred in, not all, but most of them.

"The Eternal Daughter" could have been something more than what it is if perhaps more suspense had been added, maybe a few more characters. It could have been a great "Ghost Story", but probably the director did not want this from the film she created. The scenery and the entire "environment" from the hotel would have permitted that.

The film wants to emphasize the mother-daughter relationship and the mark that some people leave on our lives, even after they pass away.

However, I was disappointed by the somewhat slow pace in which the story was conceived.

This is not a horror or a mystery movie. This is a drama disguised as a drama/horror mystery. And that's why it fails.

Swinton is amazing as always. It's unreal how convincing she is playing both the mother and the daughter. I mean, i was moved by "their" relationship, these were adorable characters. I really felt their feelings for "each other" and that is kinda insane because the viewer forgets that they are the same person. Hence the 5 stars.

However, this is not a good movie. I didn't mind the slow pace, but this movie has the most unnecessary twist of all time. Unnecessary, illogical and, dare i say, conniving. Because there are some scenes that contradict this particular twist, during this movie. Most of the people see it coming from the beginning of the movie, but then, the director convince the viewer that they got it wrong. And in the end, the thing that most of the people suspected, happened. Without any logical or paranormal explanation. Thus, as a viewer i feel cheated and i can't rate it higher.

This would be a much better movie as an art drama. No twists, no surprises. Just a mother and a daughter, their relationship and their feelings. I would enjoy this movie. You have Tilda Swinton in your movie, you don't need twists and turns. Go full drama, realistic as it gets. Psychological drama-mystery horror is another genre, much more complicated than it seems.

To this interesting movie. A foggy park and a sinister mansion, the evening sets in. A mother and her nervous daughter move in to a hotel, that seems empty. Later on you will understand why. There is some work to be done for us, the public. I like that. There is enough dialogue in our daily lives... The scenarist must have been busy erasing his lines. Or hers. Then suddenly an unexpected guest moves in and reliefs the tension. It changes your perspective and gets you ready for the ending. Well done there! And indeed, there's a little bit of John Cleese in there. Subtle and strange, yet heartwarming. Like TS.

I recently had the opportunity to watch "The Eternal Daughter" and was struck by the film's eerie atmosphere and strong performances from Tilda Swinton and Carly-Sophia Davies. The film follows Julie, a filmmaker, as she travels with her mother to a creepy country estate to research her latest project. The setting and mood of the film are deeply unsettling, and the way time is portrayed as porous adds to the overall sense of unease.

One of the standout aspects of "The Eternal Daughter" is its focus on the relationship between Julie and her mother. The two women are enmeshed in each other's lives, and the film explores the complex emotions that arise when Julie learns about her mother's past. The performances from Swinton and Davies are strong and convey the tension and discomfort in their interactions.

Overall, I found "The Eternal Daughter" to be a compelling and eerie exploration of family relationships and the passage of time. The film's moody atmosphere and strong performances make it worth watching.

A far eastern movie called "The Assassin" had once left martial arts fans frustrated and bored because the critically acclaimed 2015 Hou Hsiao-hsien movie was actually a drama and not an action movie as its title may have suggested. What we have here is a similar case. The Eternal Daughter is a drama in a horror theme. Make it in black and white and remove the spooky soundtrack and it's an Ingmar Bergman.. a bit. Human suffering is always a scary thing and for that the horror theme actually worked. Visually i found the movie fun to watch. It is very beautifully shot.

If you enjoy slow raw dramas, watch. If you don't, avoid because this is not a horror movie.

With a atmosphere thick enough you can cut it with a knife, Hogg takes us on a personal trip just like with the other two works of her, The Souvenir films, where everything is more of an introspection, a cinematic retelling of an event of her life that also works as catharsis for emotions and closure.

Tilda Swinton is an artistic treasure, as always making it flawless and understated and she uses this haunted and haunting hotel to great effect, making it feel alive with every creak and wind whistle.

But yeah, the direction where this was going could be seen from the first scenes, even if Hogg tried to hide it...the knowing is part of the experience, it should not the effect of a plot twist. So it's more of a psychological horror.

No, it's not a horror film and if it is billed as such horror fans will be severely disappointed when they spend time and money on this drama.

Eternal Daughter is a slow, moving, heart-felt exploration of mother-daughter relationships, shades of memory and the grief and despair of losing a loved one.

As such, it is a beautiful, moving film and I encourage anyone in the mood for a gothic, haunting, superbly acted and executed film to go see it!

Tilda Swinton is such a great actress and this role was made for her. The direction is perfect. The location moody and remote which adds a delicious layer of creepiness.

Having made two films on the essence of cinema or at least on the filmmaker's craft, (her own), Joanna Hogg has now turned her attention to ... a ghost story albeit one without a conventional ghost. "The Eternal Daughter" is set in the kind of hotel that says very loudly either 'Downton Abbey' or 'The Haunting' and it's on the latter than Miss Hogg has decided to concentrate but being an art-house kind of director this is no "Scream"; rather it's closer in tone to the kind of ghost story or horror movie Chantal Akerman might have made in her best "Jeanne Dielman..." mode.

Tilda Swinton is the daughter and she's also her mother and they are staying in this stately pile together and they both seem to be cut from the same cloth but Swinton, who is at her very best here, isn't someone you would want to spend too much time with. For a start all the creaks and bangs and the things we usually associate with haunted houses all seem to start with her, at least with the daughter, (her mother is more amenable).

It appears that the hotel was once the mother's family home and Hogg's film is really a journey into the past, an attempt to reconnect that doesn't appear to be working. In both roles Swinton is superb, the daughter presumably yet another incarnation of Hogg herself and apart from a few minor characters, she's really the only person on screen. In dramatic terms nothing really happens and yet the film is haunting in its own pervasive way, proof that Swinton could hold our attention just reading the telephone book and that Hogg is a singular talent no matter what material she turns her hand to. Hopefully next time, however, she will make something a little more lively.

First Impressions:

As gothic ghost stories go, "The Eternal Daughter" was a sublime arthouse tale brought to life with subtlety and literary flair. What the movie lacked in speed it more than made up for with engaging performances and exceptional direction.

The Crew:

As both writer and director, Joanna Hogg did outstanding work.

Ed Rutherford's cinematography was captivating.

Grace Snell's costume design was great.

Set decoration and art direction were amazing.

Production design and special effects were remarkable.

Sound effects and editing were superb.

I'm not sure who scored the movie, but the music was notable and gave off yester-era vibes.

The Cast:

Tilda Swinton as both Julie Hart and Rosalind Hart was brilliant.

Carly-Sophia Davies as the hotel receptionist was great.

Joseph Mydell as an unnamed hotel staff member was quite good.

Plot Summary & Analysis:

Despite being a fan of Tilda Swinton for several years, I am still taken by surprise each time I see her in a new project. Every role she chooses comes wrapped in artistic fervor and delivered with classic thespian excellence.

In "The Eternal Daughter", Tilda took on the dual role of both mother and daughter. She didn't look all that different in either role and yet succeeded in convincing me that I was watching two actresses in separate roles instead of just the one acting as both.

Tilda played an artist returning to her ancestral home - now a hotel - where she and her mother gradually peeled back the layers of select secrets, not to mention a small world of memories.

Joanna Hogg's direction and screenplay cleverly balanced the plot and hid the brilliant final twist until the moment came.

There was no overt paranormal activity in this movie, but that didn't quite matter to me. Because the script was impressively poignant and simple enough to keep me hooked.

Final Notes:

This movie was worth watching simply for Swinton. Her performance was sublime and every scene in which she featured held my attention, and I'm not just saying that because I'm a fan.

That twist near the end was artfully executed. In addition to Tilda's double acting, it was worth sitting through this movie to catch that emotional reveal.

Absolutely terrible film in which absolutely nothing happens. Tilda Swinton stars as both the annoying mother and daughter in this stupid ghost story. It's obvious from the moment they appears what the "hook" is.

Annoying pretentious "filmmaker" goes to an ugly country hotel with her "mother" and has a mental breakdown. They spend most of their time lying in bed or laboring over ordering meals from a menu with four items on it. A dripping faucet is more interesting.

The hotel receptionist is rude and would be fired in an instance. It's no wonder the dog gets second billing.

How does crap like this get financed?

Julie Hart (Tilda Swinton) and her dog arrive at a secluded hotel in the countryside. She seems to be the only guest. She joins her mother Rosalind Hart (also played by Tilda Swinton). The hotel is their family ancestral estate and Rosalind's former home. Unbeknownst to Julie, it is a place haunted by Rosalind's sad memories.

The first half is rather slow and quiet. The most compelling part may be the slightly perturbed server clomping around. It's kinda funny. Then the movie hits you with some powerful scenes. I was going to suggest something for the cake scene. The hotel should suddenly become crowded. Then I read that this was filmed during COVID so that's not going to happen.

"Yes.. mm hmm.. it was this very room. Was it this room, mum? Hmmm..... I remember. Yes. This was the room. Yes. I have a memory! Of this room.... This room, mummy? Mm hmm. Yes. I believe it was this room. I remember, the memory....in this room."

Imagine Tilda Swinton and latex aged Tilda Swinton having variations of the above conversation, in various rooms of some funky old British looking hotel, for 96 minutes. Oh, and I see dead people- literally see them coming from the FIRST scene.

I would possibly be a bit more forgiving of this film if it were a first time director, but it isn't. There is nothing, and I do mean NOTHING tra-la-la! Redeemable about this. I felt my intelligence insulted by its pretension. I never write reviews, but this is one of the worst movies I have ever seen in my life, and though I don't write reviews, I've seen a lot more than your average person. Dreadful.