Eternal Daughter

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.)

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.

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.

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.

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.