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| Scene from The Souvenir (2019) |
In case you didn't know, A24 is one of the great purveyors of modern cinema. Since 2013, the studio has found a way to innovate independent cinema by turning each release into an event. As a result, A24 A-to-Z will be an ongoing series that looks at every release from the studio by analyzing its production history, release, criticisms, and any awards attention that it might've received. Join me on a quest to explore the modern heroes of cinema by exploring every hit and miss that comes with that magnificent logo. They may not all be great, but they more than make A24 what it is and what it will hopefully continue to be for years to come.
The Souvenir
Released: May 17, 2019
Release Number: 83
Directed By: Joanna Hogg
Starring: Honor Swinton Byrne, Tom Burke, Tilda Swinton
Plot: A young film student in the early '80s becomes romantically involved with a complicated and untrustworthy man.
When A24 was last seen, Under the Silver Lake had gone on a journey that saw it evade release dates before randomly becoming a cult favorite on home video. It was a story that was fitting for its winding, sometimes incomprehensible narrative that found the studio once again at its ambitious oddity. The Souvenir was another movie with a long story and one that goes back even further into more personal territory. The only difference is that the Joanna Hogg movie succeeded where the other failed, becoming one of the most acclaimed movies in the studio's 2019 roster, creating a drama about an art student learning to grow through love. A24 liked it so much that they are in the works on a sequel (their first). It's another heartfelt drama that finds the studio taking interesting risks and producing worthwhile art in the process.
The story begins in 1988 at an art museum. Hogg was dating the man that The Souvenir's Anthony was based on. At some point, they discover this art piece of a woman scratching her name into wood. The piece, aptly named "The Souvenir," would stick with Hogg and become a central tool for this narrative. As an art student, it spoke to her. She was there with her friend Tilda Swinton, whom she had been friends with since she was 10. While there were other events from this time that would inform her 2019 feature, it was this crux of an idea that she would build around.
Over the decades, she would learn how to tell the story that she wanted. Outside of work on Super 8, she had no awareness on how to make a story with a cohesive structure. She learned and, several features later, came up with the script for this story. She didn't see it as an accurate portrayal of her youth, but the wandering through memory in hopes of finding some truth deep inside. In the film, she would be symbolized by the character Julie. When collaborating with Swinton, she discovered that she wanted Swinton to play Julie's mother, but had no idea who should be the woman herself. Hogg claims to have pulled people randomly off the street sometimes if she felt they were right, only to discover that this was a futile and embarrassing act.
Swinton eventually turned to her daughter, Honor Swinton Byrne. She was 21 and hadn't acted outside of small, insignificant roles. She was excited to work with Hogg despite this and was given a unique treatment when making the film. Hogg would give Byrne personal diaries to understand her on a different level. She wouldn't see the script until absolutely necessary, allowing her to feel like she evolved with each passing scene. It was a regimented structure, serving as one of Hogg's least improvised narratives in her career. Similarly, she wouldn't meet her co-star Tom Burke (Anthony) until their first scene, as to allow their relationship to build naturally. Given that it was shot in narrative order, it helped to create something more natural.
Another form of period piece accuracy that Hogg tried to embrace was in the soundtrack. She personally believed that while the story was set in the 1980s, it wasn't going to be indebted to the era. There would be cultural signifiers from various decades such as the 1920s and 1940s to symbolize her own interests at the time. Meanwhile, her soundtrack was largely based on a mix of classical and New Wave. It was a reflection of how the differing perspectives were coming together, showing growth throughout the story. Even the placement of songs reflected a passing of time that was helpful for the story.
Another detail that feels important is the placement of producer Martin Scorsese. The legendary director wanted to work with Hogg after seeing Archipelago. He was filming Hugo at the time and found a promise in her work. The film is currently Scorsese's third credit for A24 as producer following Revenge of the Green Dragons and Free Fire. He would have another in 2019 with Uncut Gems. Still, it was a sign of quality that lead the film to a promising existence. The film would be promoted on The A24 Podcast with Hogg and Swinton holding an impromptu conversation about the film, reveling in details about how the film was made and their decades-long friendship.
The film would go on to play at the Sundance Film Festival in February 2019, where it won the Grand Jury Prize. This was considered a big breakthrough for Hogg with many even praising Byrne's performance. It was one of A24's top-line movies, even earning a theatrical release that helped the film earn $1.7 million.
The Souvenir would become one of A24's most acclaimed movies of 2019. On critics aggregate website Rotten Tomatoes, the film earned an 89% approval rating. Hannah Woodhead of Little White Lies lead the positive review by noting "Tender and charming, but the bitter sting elevates it to greatness." There were others like Katie Hogan of VultureHound who agreed that "As this is Honor's first acting role, her constant vulnerability throughout is painfully real." The few who disagreed, such as Dan Webster of Spokesman-Review (Washingon) who argued that "Hogg's whole movie is based on a weak premise. And instead of giving us any reason to accept that premise... she merely indulges in a kind of artistic fancy that might make even Jackson Pollock smirk." Then again, the critics were not alone, as the audience score was a dismal 36%, over 53 points lower and reflective of how this story didn't appeal to general audiences. Even then, the film would end up on many end of year lists, serving as the most acclaimed movie on a Sight & Sound list.
Whatever the case may be, A24 had faith in Hogg and was willing to work with her again. The story suggests that the second film (which went into production later in 2019) will be about the downfall of the relationship. For now, it's time to see where things can go and enjoy another quaint drama about a unique coming of age story. For now, it was time to continue to get through 2019 and one of the studio's most interesting years to date. Up next was a film that took a different perspective on the Black American experience, focusing on a house that symbolizes a greater history and the value of worth in a culture. The Last Black Man in San Francisco was another big hit for the studio, reflecting just how wide this net was going to be.
Up Next: The Last Black Man in San Francisco (2019)
The story begins in 1988 at an art museum. Hogg was dating the man that The Souvenir's Anthony was based on. At some point, they discover this art piece of a woman scratching her name into wood. The piece, aptly named "The Souvenir," would stick with Hogg and become a central tool for this narrative. As an art student, it spoke to her. She was there with her friend Tilda Swinton, whom she had been friends with since she was 10. While there were other events from this time that would inform her 2019 feature, it was this crux of an idea that she would build around.
Over the decades, she would learn how to tell the story that she wanted. Outside of work on Super 8, she had no awareness on how to make a story with a cohesive structure. She learned and, several features later, came up with the script for this story. She didn't see it as an accurate portrayal of her youth, but the wandering through memory in hopes of finding some truth deep inside. In the film, she would be symbolized by the character Julie. When collaborating with Swinton, she discovered that she wanted Swinton to play Julie's mother, but had no idea who should be the woman herself. Hogg claims to have pulled people randomly off the street sometimes if she felt they were right, only to discover that this was a futile and embarrassing act.
Swinton eventually turned to her daughter, Honor Swinton Byrne. She was 21 and hadn't acted outside of small, insignificant roles. She was excited to work with Hogg despite this and was given a unique treatment when making the film. Hogg would give Byrne personal diaries to understand her on a different level. She wouldn't see the script until absolutely necessary, allowing her to feel like she evolved with each passing scene. It was a regimented structure, serving as one of Hogg's least improvised narratives in her career. Similarly, she wouldn't meet her co-star Tom Burke (Anthony) until their first scene, as to allow their relationship to build naturally. Given that it was shot in narrative order, it helped to create something more natural.
Another form of period piece accuracy that Hogg tried to embrace was in the soundtrack. She personally believed that while the story was set in the 1980s, it wasn't going to be indebted to the era. There would be cultural signifiers from various decades such as the 1920s and 1940s to symbolize her own interests at the time. Meanwhile, her soundtrack was largely based on a mix of classical and New Wave. It was a reflection of how the differing perspectives were coming together, showing growth throughout the story. Even the placement of songs reflected a passing of time that was helpful for the story.
Another detail that feels important is the placement of producer Martin Scorsese. The legendary director wanted to work with Hogg after seeing Archipelago. He was filming Hugo at the time and found a promise in her work. The film is currently Scorsese's third credit for A24 as producer following Revenge of the Green Dragons and Free Fire. He would have another in 2019 with Uncut Gems. Still, it was a sign of quality that lead the film to a promising existence. The film would be promoted on The A24 Podcast with Hogg and Swinton holding an impromptu conversation about the film, reveling in details about how the film was made and their decades-long friendship.
The film would go on to play at the Sundance Film Festival in February 2019, where it won the Grand Jury Prize. This was considered a big breakthrough for Hogg with many even praising Byrne's performance. It was one of A24's top-line movies, even earning a theatrical release that helped the film earn $1.7 million.
The Souvenir would become one of A24's most acclaimed movies of 2019. On critics aggregate website Rotten Tomatoes, the film earned an 89% approval rating. Hannah Woodhead of Little White Lies lead the positive review by noting "Tender and charming, but the bitter sting elevates it to greatness." There were others like Katie Hogan of VultureHound who agreed that "As this is Honor's first acting role, her constant vulnerability throughout is painfully real." The few who disagreed, such as Dan Webster of Spokesman-Review (Washingon) who argued that "Hogg's whole movie is based on a weak premise. And instead of giving us any reason to accept that premise... she merely indulges in a kind of artistic fancy that might make even Jackson Pollock smirk." Then again, the critics were not alone, as the audience score was a dismal 36%, over 53 points lower and reflective of how this story didn't appeal to general audiences. Even then, the film would end up on many end of year lists, serving as the most acclaimed movie on a Sight & Sound list.
Whatever the case may be, A24 had faith in Hogg and was willing to work with her again. The story suggests that the second film (which went into production later in 2019) will be about the downfall of the relationship. For now, it's time to see where things can go and enjoy another quaint drama about a unique coming of age story. For now, it was time to continue to get through 2019 and one of the studio's most interesting years to date. Up next was a film that took a different perspective on the Black American experience, focusing on a house that symbolizes a greater history and the value of worth in a culture. The Last Black Man in San Francisco was another big hit for the studio, reflecting just how wide this net was going to be.
Up Next: The Last Black Man in San Francisco (2019)
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