The Souvenir

A film by Joan­na Hogg. In Eng­lish with Ger­man sub­tit­les.

[Credits] [Tickets & Ter­mi­ne] [Trai­ler]

Eng­land; the ear­ly 1980s. Young film stu­dent Julie wants to use her came­ra to bet­ter under­stand the world. This shy woman is well awa­re of her pri­vi­le­ged social posi­ti­on and, as she exp­lains, sees her Super 8 came­ra as a way to break out of her own litt­le bub­ble. She thinks she is medi­o­c­re, but the pho­tos and moving images that flow into the film bear wit­ness to her spe­cial gaze. In an unassuming, almost docu­men­ta­ry approach, we are intro­du­ced to Julie’s stu­dent milieu, into which Antho­ny unex­pec­ted­ly enters. He is older and more dis­tin­guis­hed. He har­bours a secret that Julie only unco­vers later, but that then dra­ma­ti­cal­ly chan­ges ever­ything.
Joan­na Hogg’s semi-auto­bio­gra­phi­cal film is both a per­so­nal take on the crea­ti­ve out­put of upper-midd­le-class Bri­tain and an incisi­ve explo­ra­ti­on of spaces, land­s­capes, depen­dent rela­ti­ons­hips and, not least, the medi­um of film. Hogg’s con­tem­pora­ry, Til­da Swin­ton, plays Julie’s generous mother; her daugh­ter, Honor Swin­ton Byr­ne, embo­dies the role of the prot­ago­nist, who seems to be losing her grip on life. Until, that is, film comes to the res­cue, as a means of expres­si­on, rea­li­ty, the­ra­py and a record of the times.


GB 2019, 115 Min., engl. OmU
Regie, Buch: Joan­na Hogg
Kame­ra: David Raede­ker
Schnitt: Hel­le le Fev­re
mit: Honor Swin­ton Byr­ne, Tom Bur­ke, Til­da Swin­ton


  • noch kei­ne


nach oben