In Joanna Hogg’s new film, “The Eternal Daughter,” Tilda Swinton plays both mother and child—an astonishing tour de force for both the actor and director, tnyfrontrow writes.
” , Swinton plays Rosalind, the mother of a young film student named Julie Hart . Now, in “The Eternal Daughter,” Julie returns, as a middle-aged woman who, in chilly late November, takes the elderly widow Rosalind on a brief vacation in Wales, in a remote and majestic hotel. They are there to celebrate Rosalind’s birthday; Julie is plotting to make a movie about her mother.
It’s a graceful and fluid movie to watch but a difficult one to describe or even to grasp, seemingly by design. It’s mysterious, elusive, and, for all its weighty and palpable physical reality, for all its pressing concentration on its characters and their surroundings, it shunts much of the action not offscreen but to what’s in the frame but invisible—to spiritual presences that are both ubiquitous and inaccessible.
The women fill their days and nights with minor activities, which grow increasingly charged with oddities, tensions, and perturbations that occasionally discharge a spark of creative energy. Even such trivialities as Julie’s nocturnal jaunt through empty corridors and back rooms in a vain quest for a kettle and her odd, mutually fussy interaction with the clerk the next morning to request one make the place feel off-kilter, the time out of joint.
In both roles, Swinton holds the extended scrutiny of Hogg’s many and varied closeups, and her performances are perched at the delicate edge of craft—a matter of controlled gestures and calibrated diction—and sheer presence. The movie’s costumes, hair styling, and makeup have much to do with Swinton’s expansive physicality; I’ve rarely seen an actor artificially aged with such uncanny persuasiveness.
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