Horizon cinemas food12/20/2023 ![]() ![]() Add to that, Swinton and Hogg became artists. Their mothers had only “limited intimacy” with their daughters. Swinton is from an aristocratic, military Anglo-Scots family and her mother, like Hogg’s, was a “postwar bride who married in the 50s, had children in the 60s and had done this deal with life – happily to a degree – to be a devoted wife first and foremost”. Swinton explains that she and Hogg have been friends since they were 10 or 11 and have always talked about their mothers, who sound not altogether dissimilar. The two women are at once conjoined and helplessly apart and the film repays a second viewing because it is, in the deepest sense, about double takes. That’s his.” Swinton suggests that, in the film, the “great question” is “where does my mother end and I begin?” She shifts between playing a mother of bleached, upper-class delicacy and a dashingly urban and visibly distressed film-maker daughter with huskiness to her voice. Oscar Wilde wrote: “All women become like their mothers. Swinton as the White Witch in The Chronicles of Narnia: The Lion, the Witch and the Wardrobe, 2005. I suggest that it is about what it means to haunt yourself and Swinton agrees: “That is at the heart of the film,” she says. These are the ingredients for a conventional haunting, but The Eternal Daughter will prove to be a haunting of a new kind. Julie is taking her mother to a country house hotel that turns out to be without guests as if in a dream – or a nightmare – all mahogany melancholy with a passive-aggressive receptionist and a non-stop gale blowing outside. ![]() It opens with a white taxi advancing down a straight road, flanked by winter trees and enfolded by mist. This is a film of brilliantly devious artistry. A gimmick, you might think – but watch before judging. In The Eternal Daughter, she plays two women – the mother, Rosalind (those familiar with the Souvenirfilms will recall the character), and the daughter, Julie – now middle-aged. Swinton is now changed back into her own clothes, a casual, scarlet mohair jumper that matches her lipstick from the shoot and is perched on a high seat as if a cocktail might be about to appear (I’m afraid it isn’t). This is, loosely, a sequel to the coming-of-age Souvenir films in which Swinton starred alongside her daughter, Honor (who has recently graduated from Edinburgh). We have a huge amount to talk about because in addition to questions from celebrities and readers, we need to make space for her new film, The Eternal Daughter, directed by Joanna Hogg. Photograph: AlamyĮventually, we find a quiet space to talk in the studio’s dressing room. Swinton in the forthcoming Joanna Hogg film, The Eternal Daughter. What a difference there must be, I’m thinking as I watch her in front of the camera, between her “real” life in the Scottish Highlands by the sea and all this London razzmatazz. ![]() She has won an Academy award, a Bafta, been nominated for three Golden Globes and, having just turned 63, is still seen as a fashion icon of androgynous beauty with an unchanging profile – like a figurehead on the prow of a ship. She was in Almodóvar’s short The Human Voice (2020) and is about to star in his next full-length feature (details still under wraps). Original, distinctive and questing, she has played everything from a distraught mother in Lynne Ramsay’s We Need to Talk about Kevin (2011) to the ancient, querulous Madame D in Wes Anderson’s The Grand Budapest Hotel (2014) and the White Witch in the Narnia series (2005-2010). The mix of professionalism with warmth disarms, especially when you might have expected a superstar loftiness.įor Swinton is a superstar – ranked by the New York Times as one of the greatest actors of the 21st century. What you see almost at once is that Swinton is giving 100% to the task at hand while being obligingly considerate to everyone around her. Tilda Swinton has been posing in different costumes for the Observer’s photographer and, as I arrive, has just changed into tartan trousers, saucy two-tone shoes and is standing perfectly still as a hairdresser attends to a blond quiff that makes her look like an incredible exotic bird – or a dandy hooligan, although her face looks too seraphic to mutate into aggro. ![]()
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