The Souvenir: Part II

It seriously threatened to take the first spot on my list of the best films of 2021. Unbelievable! I didn't receive well the first film because I think I wasn't prepared for it when I saw it, and that is - I have to rewatch it, but that's an incredibly challenging film. In this one, you can get aboard trouble-free. And I'm not saying this is a more conventional film. It's not. Hogg managed to "reach out" to the viewer (at least to me) smoothly this time around while at the same time preserving the same confident, sumptuous directing style she displayed in the first film. Where the two films differ quite a bit is the writing. Here, there's a good deal of dialogue. Characters express themselves a lot, whereas, in the first film, you have to drain your intuition empty to understand what's going on; what's the motivation behind the characters' actions. And while I think that's what Hogg intended with the first film, and it wasn't an anomaly of the movie, I have to admit I didn't get along with it. Anyway, the rewatch is on the way, so I'll settle the score with the first film shortly.

Back to Part II, I loved it! There's a peaceful vibe that's so welcoming naive with its brute honesty yet disarming with its gentle way of coming to meet us. Honor Swinton gives a nuanced performance, fully embracing the pure nature of her character. And her performance gets even better and more genuine, almost unselfconscious when she's acting alongside Tilda. Double-Swinton powerhouse! Here, Hogg showcases a bit of her humor through my favorite character in the film: Patrick. I love hysteric characters, and this guy was my poison. - "You're forcing me to have a tantrum." I yelp-laughed at that. He almost ruined the rest of the movie for me because, after the scene where the line above takes place, I was in such a hurry for the film to end so I could go back and watch the scene on loop. Anyway, 'The Souvenir, Part II' is such a rich film. And it's this richness that allows for it to connect with everyone. I think everyone would find a piece in it they will relate to if they let themself reminisce in Hogg's confessional cinematics.

The film will be rated approximately the same as The Souvenir, you either really appreciate the approach, really don't, or find some valuable insights and merits.

I did not see the films back to back, so was immediately put off by the way it delved into the aftermath of Anthony's death without any background. If it were a TV series no problem, but this is supposed to be an independent film. However this actually worked in exploring the here-absent Anthony from a different perspective, as a presence the character must endure/overcome in different ways: emotionally, sexually, artistically. The latter leads to more "arty" discussions that will certainly put off those who don't appreciate the vibe.

The grief of the main character is more believable here in the absence of Anthony as the relationship never really was convincing in the previous film. And the way she sublimates it in her art was very interesting, leading to baffled comments from her co-workers, colleagues and professors. The lead, however, remains in my mind a miscasting, although clearly under a lot of pressure (as a stand in at different levels for, basically, two strong women). However, as in The Souvenir, Part 2 will make much more sense for those with references/context than to a naive audience. Film is not life and vice versa, as is often stated.

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.

The good: this movie has got quite a weird mix of a few, short intermittent scenes that are quite mesmirizing to watch, BUT...

The bad: the largest part of this movie is quite tedious to watch. Played by unknowns, directed by an unknown, who didnt rock the boat in any sort of way.

Not any good? Tilda Swinton has a small supporting role, really small.

This is much more "enjoyable" than its predecessor, and it's not solely because it doesn't contain the toxic Anthony. I felt so disappointed by the flat direction in the first film, and I was delighted to see more chances taken in this one. There is more life and color in Part II, and some meta moments were really quite surprising.