Joanna Hogg: Last News

EXCLUSIVE: Once again, working under the Guild’s restrictive rules for inclusion among nominees for the WGA Awards for Best Original and Adapted Screenplays, several leading Oscar contending screenplays are AWOL on the official WGA ballot sent to eligible voting members this morning.

EXCLUSIVE: London-based Lark is one of the buzziest new boutique film and TV agencies in Europe.

We’ve already gotten the Gotham Awards and have seen the New York Critics Circle announce their winners. As we start the final countdown of 2022, many of us continue to play desperate catch-up of the year’s best, making the prospect of an entire month worth of new releases daunting.

Manori Ravindran International Editor In Hollywood, beauty isn’t just skin deep — it’s a currency. So it’s striking that Harris Dickinson makes fun of his own bountiful good looks in Ruben Östlund’s satirical comedy “Triangle of Sadness,” in which he plays a spoiled male model who goes on a humbling journey. In person, Dickinson cuts a striking figure at 6’2”, with sculpted features and full, cherry lips. But ask this 26-year-old from a working-class, South London family about his own physicality, and he instantly recoils. It’s easy to understand why: to objectify him for his beauty alone is to miss him entirely. Dickinson is increasingly everywhere — not only in British cinema but also in an impressive number of Hollywood features. His may not be an overnight success, but his popularity has been simmering, andwill soon boil over into stardom. In four years, he’s had leading roles in indie hits like Joanna Hogg’s meta romance “The Souvenir II” and studio fare like Sony’s psychological murder mystery “Where the Crawdads Sing.”

Manori Ravindran International Editor The stars descended on Soho House in downtown Toronto on Saturday for Variety and Chanel’s Female Filmmakers’ Dinner during the Toronto International Film Festival. Guests in attendance included Tilda Swinton, star of Joanna Hogg’s “The Eternal Daughter”; Gina Prince-Bythewood, director of “The Woman King”; Darren Aronofsky, director of “The Whale”; and Anna Kendrick, who’s in Toronto shopping her new AGC Studios project “The Dating Game” to market buyers. Stars mingled on a packed rooftop before convening in the club’s private dining room, which gathered around 100 of the festival’s bright lights in filmmaking. They dined on a bespoke Soho House menu of beef tartare with black truffle, black cod and bok choy, and wagyu rib cap with porcini purée.

Tilda Swinton takes over the red carpet in a dazzling lavender gown at the premiere of The Eternal Daughter during the 2022 Venice International Film Festival on Tuesday (September 6) in Venice, Italy.

Tilda Swinton is switching up her look.

Jessica Kiang A mysterious nighttime mist swirls through Joanna Hogg’s sorrowful, secluded “The Eternal Daughter.” It is pumped, in artificial, Hammer-horror puffs and plumes, across groves and gravel driveways. It snakes around gables topped with gargoyles, snags on hedges, rubs against dark, staring, possibly haunted windows. It shrouds the film the way the unspoken words, undefined guilt and unfulfilled duties that exist between maybe every mother and daughter can cloud the truth of their fraught, primal connection. And it is this grave film’s most apposite motif, in being beautiful and mood-making but vaporous: try to grasp it and your hand closes on nothing but a faint, damp chill.  Filmmaker Julie (Tilda Swinton), her aging mother Rosalind (Tilda Swinton) and Rosalind’s dog Louis (Tilda Swinton’s dog Louis) arrive in a white cab one foggy night at the remote Welsh hotel that Julie has booked for a stay over Rosalind’s December birthday. One of the secrets guarded by the mansion’s imposingly eerie Gothic facade is that it was not always a hotel. It used to belong to Rosalind’s aunt Jocelyn, and as a child during the war, Rosalind stayed here. So there’s a sentimentality to Julie’s choice of the place, as well as a very slightly sneaky agenda, signalled each time she furtively hits record on her phone as Rosalind begins to reminisce: Julie is gleaning material for an upcoming project about her and her mother, though she’s finding it difficult to get started. 

Naman Ramachandran The subject of the ongoing Russian invasion of Ukraine, one of the topics of discussion at the Venice Film Festival, bubbled to the surface again on Tuesday with Tilda Swinton making a statement with her hair dyed yellow. “It’s my honor to wear half of the Ukrainian flag,” Swinton said at the press conference for Joanna Hogg’s “The Eternal Daughter,” when complimented on her look by a journalist. Swinton expressed that it was an honor later during the conference as well. The star wore a light blue top, which complements the dark blue of the Ukraine flag. Shot during lockdown, “The Eternal Daughter” follows an artist and her elderly mother who confront long-buried secrets when they return to a former family home, now a hotel haunted by its mysterious past. Swinton plays both mother and daughter. The names of the mother and daughter in the film are Rosalind and Julie, the names for Swinton and her real life daughter Honor Swinton Byrne in Hogg’s “The Souvenir” and “The Souvenir Part II.”

Tilda Swinton is back on the Lido, this time with director Joanna Hogg’s Venice competition title The Eternal Daughter.

Nick Vivarelli International Correspondent Last year Andrea Scrosati – who is group COO and continental Europe CEO of Fremantle – was at Venice with two films. This year Fremantle’s got six pics launching from the Lido, three of them in competition, which is a larger contingent than any of the U.S. studios or streamers.  Fremantle’s business model, which involves a cluster of companies mostly across Europe that they either fully own or are majority investors in, has been bearing fruit on their film side. Their output has grown “from 8 to 32 delivered movies in two years,” Scrosati says.  And the multi-pronged company’s Venice lineup – which includes Luca Guadagnino’s “Bones and All,” Emanuele Crialese’s “L’Immensità,” and Joanna Hogg’s “The Eternal Daughter” – is a reflection of that.

The BFI London Film Festival has unveiled its full list of titles, with the program comprised of 164 features and 23 world premieres across film and TV.

Memoria, Wes Anderson’s The French Dispatch and Joanna Hogg’s The Souvenir Part II. She’ll shortly be seen opposite Idris Elba in George Miller’s oddball romantic fantasy Three Thousand Years of Longing, with further collaborations with Hogg (The Eternal Daughter) and Anderson (Asteroid City) set to premiere before the year is out, along with a voice role in Guillermo del Toro’s animated Pinocchio.

TIFF announced its Short Cuts section today comprised of 39 live-action narrative, documentary, and animated short films from directors repping 18 countries.

Rebecca Rubin Film and Media ReporterNew movies from directors Claire Denis, Park Chan-wook, Ruben Östlund, Kelly Reichardt and Paul Schrader will play at the 60th New York Film Festival, which is running from Sept. 30 through Oct.

The 60th New York Film Festival unveiled its main slate from established and upcoming directors with Cannes’ Palme d’Or-winner Triangle of Sadness by Ruben Östlund, Claire Denis’s Stars at Noon (tied for Cannes Grand Prize), Park Chan-wook’s Decision to Leave (Cannes Best Director), and Charlotte Wells’ debut feature Aftersun (Cannes’ French Touch Jury Prize).

Hello and welcome to another week that was in international entertainment. Jesse Whittock here, back to guide you through the big stories and scoops. Also, a warm welcome to another new face in our London office, Zac Ntim, who’s joined us as International Film Reporter. Drop him a note and say hello.

The 79th Venice International Film Festival has presented the movies that will compete for this year’s Golden Lion. Following Cannes’ impressive 2022 line-up was always going to be a tough task, but the Venice Film Festival has pulled out all the stops and unveiled a programme that fuses red-carpet glitz with politically-charged fare.

Leo Barraclough International Features EditorCondor has picked up French rights to Saim Sadiq’s drama “Joyland” ahead of its world premiere in Cannes’ Un Certain Regard. The title, the first Pakistani film to be selected in Cannes, will vie for the Caméra d’Or.Film Constellation is representing international sales rights.

EXCLUSIVE: Lionsgate is finalizing a deal to acquire a minority stake in London and LA-based management and production company 42, we can reveal.