Looking for something to cheer myself up with while recovering from flu, I decided to take a look at the HOME Manchester cinema site. Seeing praise for the title during the awards season, I was thrilled to find out that HOME were in a few weeks to hold a Q&A screening with the writer/director, which led to me picking up a second souvenir.
View on the film:
Revealing during the excellent, in-depth Q&A after the screening that this, the first sequel from A24, was intended to be viewed as one piece with the earlier film, the screenplay by writer/director Joanna Hogg stays delicately balanced in reflecting the feelings of Julia, (played with a free spirited by Honor Swinton Byrne) via building on the first movie with the grief hanging over Julia from the death of her lover Anthony, while finding her own voice, (and that of the movie) in Julia's full embracing of the love of cinema at film school.
Stating during the Q&A that the title being separated into two allowed her to "Come up with lots of new ideas for the second part." director Hogg reunites with Swimming with Men (2018-also reviewed) cinematographer David Raedeker and wonderfully brings into focus the processing of grief Julia goes through in film, from the grainy 16 mm and 35 mm, to the clear, bright vision ahead in Digital and Hi-8.
Closing this second view into Julia's life with an excellent 4th wall breaking final shot, Hogg and Raedeker reel in a free-flowing atmosphere of fluid hand-held and dolly shots getting close-up to recording Julie's grief, as she picks up a second souvenir.
View on the film:
Revealing during the excellent, in-depth Q&A after the screening that this, the first sequel from A24, was intended to be viewed as one piece with the earlier film, the screenplay by writer/director Joanna Hogg stays delicately balanced in reflecting the feelings of Julia, (played with a free spirited by Honor Swinton Byrne) via building on the first movie with the grief hanging over Julia from the death of her lover Anthony, while finding her own voice, (and that of the movie) in Julia's full embracing of the love of cinema at film school.
Stating during the Q&A that the title being separated into two allowed her to "Come up with lots of new ideas for the second part." director Hogg reunites with Swimming with Men (2018-also reviewed) cinematographer David Raedeker and wonderfully brings into focus the processing of grief Julia goes through in film, from the grainy 16 mm and 35 mm, to the clear, bright vision ahead in Digital and Hi-8.
Closing this second view into Julia's life with an excellent 4th wall breaking final shot, Hogg and Raedeker reel in a free-flowing atmosphere of fluid hand-held and dolly shots getting close-up to recording Julie's grief, as she picks up a second souvenir.