Es sind die frühen achtziger Jahre. in einem Kino in Deiner Nähe läuft oder für das Heimkino (Streaming / DVD / Blu-ray) am Start ist. Sie werden sich wieder treffen, bei Champagner über Julies Film und den Unterschied zwischen „real“ und „truthful“, wirklich und wahrhaftig, reden; er lädt sie ins Museum ein, zeigt ihr das Bild The Souvenir von Jean-Honoré Fragonard. The Souvenir is a masterwork that suggests that both emotional extremes can exist simultaneously and harmoniously; blending the rigorous and the dramatic with startling and disarming ease. Mit: Honor Swinton Byrne, Tom Burke u. a. Großbritannien 2019, 115 Min. Beispielsweise wiederholt sich ein Schnitt auf eine Landschaft, in der am unteren Bildrand einige Bäume und vor allem der Himmel zu sehen ist. But she’s unendingly starry-eyed, a trait that lands her in a relationship with the slightly older, arrogant, world-weary Anthony (Burke). “She’s very much in love,” Anthony says with suave certainty, and perhaps he’s right. It’s almost too much for a single film to contain, which is probably why Hogg is deep into production on a sequel to The Souvenir. Even if they don’t understand why Julie stays with Anthony after all evidence suggests she should leave, viewers will feel and experience every bit of the journey as if it were happening to them. She had given her child everything and still fusses over her as a grown-up, yet she couldn’t protect her from this particular brand of heartbreak. Wir freuen uns über eine His ironical, world-weary way of talking and his chalk-striped suits and monogrammed slippers suggest a privileged upbringing. At the same time, it’s a coming-of-age story for Julie, whose ideas about what she wants to do in film change drastically over time, just as her youthful naiveté is being sloughed away. Mail an firstname.lastname@example.org! Doch er ist so anders als ihre Freunde von der Uni – und vielleicht ist es das, was sie fasziniert. Dabei wird er nicht zu einer egozentrischen Nabelschau, sondern er steckt voller kleiner Momente der Wahrheit. newsletter. The problems actually start before that. Angesichts rasant steigender Infektionszahlen in Deutschland fordert Wissenschaftlerin Viola Priesemann: Wir müssen jetzt gegensteuern. Instead of walking viewers through every detail of Julie and Anthony’s relationship – which includes numerous instances of falling out and coming back together – Hogg only includes the moments in her protagonist’s life that have left the biggest impressions, scars, and successes. The Souvenir is effectively contemplative and reflective in ways that few works of cinema and literature are, blending quiet and seemingly insignificant milestones with the moments that often stick out in the minds of young people experiencing love for the first time, whether for better or for worse. Stilvoll gelangweilt: Anthony (Tom Burke) und Julie (Honor Swinton Byrne) in „The Souvenir“ Foto: A24. He seamlessly becomes a part of her daily life and moves in with her. The Souvenir is the fourth feature film for Hogg, a former music video and TV director, and though her previous three — Unrelated (2008), Archipelago (2010), and Exhibition (2013) — feature familiar faces (notably Tom Hiddleston) and garnered praise and prizes at international festivals, her work hasn’t been widely seen in the US. Für Fragen zu Rechten oder Genehmigungen wenden Sie sich bitte an email@example.com. , the superlative fourth feature from British writer and director Joanna Hogg, is one of the most uncomfortably realistic and heart rending looks at young love ever put to film. 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It unfolds as a cascade of memories. In the midst of her filmmaking process, she meets and begins a relationship with Anthony (Tom Burke), a closely guarded, somewhat older man who works for the UK’s foreign office. Regie: Joanna Hogg. Diviam Hoffmann. They’re vastly different films, but I mean that as high praise, regardless. Ebert Symposium 2020: Part 2 Streaming Today, October 22nd, 2020, Everlasting Arms: The Sustained Power of The Night of the Hunter, Welcome to Judgment City: A Look Back at Defending Your Life. TIFF Bell Lightbox will also be holding a retrospective of Hogg’s three previous films from June 7 to 11. Anthony seems, at least at first glance, to be from what the British would call a rather posh background. feel raw rather than melodramatic. Many directors try to employ such tactics with no subtlety whatsoever in a bid to illustrate physical and emotional distance and dissonance, but Hogg, who’s aided brilliantly by cinematographer David Raedeker, has mastered the art. Although she originally went to Boston University for biochemistry and molecular biology before landing in the sociology department, she went on to review films for The Boston Phoenix, WBUR, Dig Boston, The Boston Globe, and co-hosted the podcast “Cinema Fix.”. Julie’s is that she’s a film student, trying to put together an ambitious, somewhat vague-sounding thesis set in the northern port city of Sunderland. “The Souvenir” is one of my favorite movies of the year so far, but I almost want to keep it a secret. Stattdessen hat sie diese Beziehung mit Anthony: Er bringt ihr Reizwäsche aus Frankreich mit, zieht bei ihr ein – und braucht doch ständig Geld. But even if you never had your own Anthony, or your own similar artistic aspirations, there’s something so truthful in the telling that you’re living alongside Julie, sketching in between the lines Hogg has laid down. Have a great day. is a masterwork that suggests that both emotional extremes can exist simultaneously and harmoniously; blending the rigorous and the dramatic with startling and disarming ease. Even if they don’t understand why Julie stays with Anthony after all evidence suggests she should leave, viewers will feel and experience every bit of the journey as if it were happening to them. It’s the goal that Julie seeks throughout the film. Sie werden sich wieder treffen, bei Champagner über Julies Film und den Unterschied zwischen „real“ und „truthful“, wirklich und wahrhaftig, reden; er lädt sie ins Museum ein, zeigt ihr das Bild The Souvenir von Jean-Honoré Fragonard. Why did Trump think publishing his 60 Minutes interview footage was a good idea? The grain of the film (David Raedeker is the director of photography) shrouds the action in a delicate caul of nostalgia, communicating an ache that Julie can’t yet feel but that we can see forming inside her. It’s a testament to Hogg’s material and Byrne’s talents as a performer that this visual approximation of Julie’s complicated thought process never comes across as an actor trying to figure out where to take the scene next and always looks like a character empathetically and sometimes charitably piecing together their disappointment or displeasure. In diesem immateriellen Kosmos der Erinnerung und deren Interpretationen bewegt sich Joanna Hoggs Film „The Souvenir“, und er tut es mit einer wunderbar unangestrengten Tiefe. It’s a serious question that Anthony doesn’t seem to ask maliciously, and Julie responds earnestly, but to the viewer (who might’ve been through such a relationship before), it strikes as an immediate provocation. Wie verhält es sich also, mit der Kunst und dem Leben? Er zieht bei ihr ein. Sie reisen nach Venedig, in ihre Wohnung wird scheinbar eingebrochen. Fiktion und Realität treten darin in einen Dialog. He takes a great interest in her, challenges her ideas and courts her with letters that make her smile. Und dass das ein komplexer Prozess ist, zeigt nicht zuletzt die Ankündigung von The Souvenir, Part 2. It’s not his only habit. He seamlessly becomes a part of her daily life and moves in … Sie ist gleichermaßen ehrgeizig wie apathisch, schüchtern und leidenschaftlich – und sie wird beeindruckend von Honor Swinton Byrne gespielt. The Souvenir opens in theaters on May 17. With Neil Young, Tosin Cole, Jack McMullen, Frankie Wilson. The Souvenir, then, is aptly named: It is the past kept alive by what we bring into the present. The Souvenir also has plenty to say about the ways women have traditionally been held back when it comes to artistic or political expression, while simultaneously giving the film’s female characters an ample platform to share their ideas and thoughts with a receptive audience. Kristen Welker is moderating the final presidential debate. Byrne is a revelation, and Julie is an embodiment of the awkwardness and heedless grace of young adulthood almost without precedent in the movies. Sign up for the Get our newsletter in your inbox twice a week. Burke is pitch perfect as the aloof, tragically flawed, and sometimes even detestable boyfriend, but it’s Byrne who’s a bigger revelation. It’s delicacy and power cannot be understated. Das Nachdenken über Film bedeutet hier auch immer Nachdenken über das Leben. Over the span of the film — it’s hard to know exactly how much time is passing, which is of course exactly how the passage of time can feel — her friends slip away, and the work that had seemed so urgent feels a bit more remote. From its Sundance premiere, I heard grumblings about its main character, Julie (Honor Swinton Byrne), and the frustrations some felt with her decision to stay in a clearly toxic relationship. https://www.imdb.com/title/tt6920356/?ref_=fn_al_tt_1, Die Chroniken von Narnia: Der König von Narnia, Women Make Film: A New Road Movie Through Cinema (2018), Die Chroniken von Narnia - Prinz Kaspian von Narnia, The Mortuary - Jeder Tod hat eine Geschichte (2019), Regeln am Band, bei hoher Geschwindigkeit (2020), Hilfe, ich hab meine Freunde geschrumpft (2021), Once upon a time in Bethlehem - Das erste Weihnachten (2019), Yes, God, Yes - Böse Mädchen beichten nicht (2019).
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