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HELLE LE FEVRE EDITOR FILM & TELEVISION THE ETERNAL DAUGHTER Director: Joanna Hogg Production Company: Element Pictures THE SOUVENIR PART II Director: Joanna Hogg Production Company: JWH Films, Element Pictures, A24 Official Selection, Cannes Film Festival (2021) THE SOUVENIR Director: Joanna Hogg Production Company: JWH Films, A24 Winner, World Cinema Dramatic Grand Jury Prize, Sundance Film Festival (2019) Nominated, Best Editing, British Independent Awards (2019) Official Selection, Berlin Film Festival (2019) ALL THE BEAUTY Director: Aasne Vaa Greibrokk Production Company: Motlys Nominated, Best Editing, Amanda Awards (2016) EXHIBITION Director: Joanna Hogg Production Company: Wild Horses Film Company, BBC Films Official Selection, Locarno Film Festival (2013) Official Selection, London Film Festival (2013) Official Selection, New York Film Festival (2013) ARCHIPELAGO Director: Joanna Hogg Production Company: Wild Horses Film Company Nominated, Best Film, London Film Festival (2010) LUX ARTISTS | 1 THE ENGLISHMAN Director: Ian Sellar Production Company: Mechanical Films UNRELATED Director: Joanna Hogg Production Company: Raw Siena Winner, Fipresci Prize, London Film Festival (2013) LITTLE SCARS Director: Jan Bauer Production Company: NFTS Winner, Student TV Award, Royal Television Society (2004) SHORT FILM HÆSTKUK/BEAST Director: Aasne Vaa Greibrokk Production Company: MER Film Nominated, Best Short, Amanda Awards (2019) AMASONE Director: Marianne O. Ulrichsen Production Company: MER Film Winner, Gold Hugo for Best Short Film, Chicago International Film Festival (2014) Winner, Best Short, Amanda Awards (2014) PROCTER Director: Joachim Trier Production Company: NFTS, Channel 4 Winner, Best British Short, Edinburgh International Film Festival (2002) Nominated, Best Short, Amanda Awards (2002) GALLERY WORK THE SECRETARY OF THE INVISIBLE Director: Marine Hugonnier Production Company: MAMCO TRAVELLING AMAZONIA Director: Marine Hugonnier Production Company: Max Wigram Gallery, NouguerasBlanchard Gallery TERRITORIES I, II, III Director: Marine Hugonnier Production Company: MW Projects LUX ARTISTS | 2.

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Exhibitionein Film Von Joanna Hogg Mit Viv Albertine, Liam Gillick & Tom Hiddleston
EXHIBITION ein Film von Joanna Hogg mit Viv Albertine, Liam Gillick & Tom Hiddleston | UK 2013 | 104 Minuten | englische Originalfassung mit deutschen Untertiteln | Fugu Filmverleih | Deutscher Kinostart: 11. Dezember 2014 “It’s in the Walls!” D in EXHIBITION SYNOPSIS Zwei Künstler, ein Haus, eine unkonventionelle Ehe. H und D leben in einem extravaganten Bau im Londoner Stadtteil Kensington. Sie arbeiten parallel an ihren Projekten, geben Telefoninterviews, lassen die Außenwelt nur gedämpft herein und verabreden sich über die Haussprechanlage zu Sex oder Abendessen. H. hat das Gefühl, schon zu lange an einem Ort zu leben. Er überzeugt D, das Haus zu verkaufen. Im Prozess der Ablösung gerät die Beziehung in eine Krise. Plötzlich erhält D, die Angst vor Veränderungen hat, das Angebot einer großen Einzelausstellung. Wird die Ehe zerbrechen oder ein Neuanfang gelingen? Stellt sich heraus, dass ihr Traumhaus die ganze Zeit schon ein Gefängnis war? PRESSENOTIZ EXHIBITION, der dritte Film der „einzigartig begabten Filmemacherin“ (Martin Scorsese) Joanna Hogg, ist ein großstädtisches Kammerspiel mit drei Darstellern: der Ex-Slits-Gitarristin Viv Albertine, dem Maler und Objektkünstler Liam Gillick und dem „H-House“ des Architekten James Melvin. PRODUKTIONSNOTIZEN EXHIBITION ist der dritte Spielfilm von Joanna Hogg, einer vor allem von der britischen Filmkritik umjubelten Filmregisseurin und –autorin, die 2007 mit UNRELATED auf sich aufmerksam machte und deren zweiter Spielfilm ARCHIPELAGO (2010) auch in Deutschland ins Kino kam. Beide Filme zeigten Hoggs Talent für Ensemblechoreografien, für einen analytisch- beobachtenden Stil und einen scharfen Blick auf die englische Mittelklasse – deren Verhaltensweisen, Ängste, Tabus und Verletzlichkeiten sie sehr genau kennt. UNRELATED und ARCHIPELAGO sind raue emotionale Dramen und spröde Sozialkomödien gleichermaßen, die ihre Autorin als originelle neue Stimme im britischen Kino ausweisen.
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Friday 14 February 2020, London. BFI Southbank's TILDA SWINTON
Friday 14 February 2020, London. BFI Southbank’s TILDA SWINTON season, programmed in partnership with the performer and filmmaker herself, will run from 1 – 18 March 2020, celebrating the extraordinary, convention-defying career of one of cinema’s finest and most deft chameleons. The BFI today announce that a number of Swinton’s closest collaborators will join her on stage during the season to speak about their work together including Wes Anderson (Isle of Dogs, The French Dispatch, The Grand Budapest Hotel, Moonrise Kingdom), Bong Joon-ho (Snowpiercer, Okja), Sally Potter (Orlando) and Joanna Hogg (The Souvenir, Caprice). Also announced today is Tilda Swinton’s Film Equipment (28 February – 26 April) a free exhibit to accompany the season which has been curated in close collaboration with BFI and Swinton’s personal archive. Alongside a programme of feature film screenings, shorts and personal favourites, the season will include Tilda Swinton in Conversation with host Mark Kermode on 3 March, during which Swinton will look back on her wide- reaching career as a performer across independent and Hollywood cinema, as well as producer, director and general ally of maverick free spirits everywhere. On the same evening will be Tilda Swinton and Wes Anderson on stage: A Magical Tour of Cinema – a unique chance to hear from two of the most fervent disciples of the church of make believe, as Swinton and Anderson take to the BFI stage to discuss their many collaborations and their film passions. The event will offer a glimpse into their intimate partnership as the two long-time co-conspirators and voracious cinephiles select and explore personal favourite gems from throughout cinema’s history.
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A Film by Joanna Hogg
presents EXHIBITION A FILM BY JOANNA HOGG UK / COLOUR / 104 MINUTES / 2013 A Kino Lorber Release from Kino Lorber, Inc. 333 West 39 St., Suite 503 New York, NY 10018 (212) 629-6880 Publicity Contacts: Rodrigo Brandão – [email protected] Matt Barry – [email protected] SHORT SYNOPSIS When D and H decide to sell the home they have loved and lived in for two decades, they begin a process of saying goodbye to their shared history under the same roof. The upheaval causes anxieties to surface, and wife and performance artist D, struggles to control the personal and creative aspects of her life with H. Dreams, memories, fears, have all imprinted themselves on their home, which exists as a container for their lives and has played such an important role in their relationship. LONG SYNOPSIS Artists D (Viv Albertine) and H (Liam Gillick) are a married couple who have lived together in a West London house for nearly 20 years. It is a modernist house - all verticals, reflecting windows and sliding partitions – and seemingly the ideal residence for two artists who each work independently at home in their separate spaces, occasionally communicating briefly by intercom. Throughout EXHIBITION we see D and H living together, working separately, communicating or failing to communicate – in a series of moments depicting a long-term relationship that sometimes seems to be in meltdown, at other times extremely strong. It’s autumn. H suggests to D that she’s unwilling to discuss her work with him; she says she’s reluctant to expose herself to his criticism.
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'Materialising Absence in Film and Media' Screening the Past (2017
‘Materialising Absence in Film and Media’ Screening the Past (2017) Davina Quinlivan An Architecture of Light and Air: Rhythms of Stillness, Intimacy and Imagination in Joanna Hogg’s Exhibition (2013) During a key sequence in Hogg’s Exhibition, we hear stifled noises, breaths and whispers as the lead protagonist, a performance artist known only as ‘D’ (Viv Albertine), navigates the physical and psychical parameters of her beloved, modernist house in London. On the threshold of a new stage in her career and the sale of her marital home, D’s inner and outer worlds are unsettled, call into question and refigured as projections of her dreams, desires and their sensuous manifestations. In particular, Hogg’s rejection of scoring such moments sculpts a much more intimate and subtle soundscape of silence, breaths, kinetic movement and low, distant rumblings of urban life. This article will call attention, precisely, to the role of the senses and the sonic, as well as visual, texture of Exhibition in order to examine the evocation of imagination and desire, proximity and spatiality. This will lead me to the philosophical thought of Luce Irigaray and Gaston Bachelard, in particular, in order to shed light on the significance of gender and the embodied experience of air, the elements and the modernist spaces at the heart of Hogg’s film. More broadly, I aim to rethink Hogg’s intertextual references, visual language and subject matter in the context of this special issues’ theme of absence and its opening up of fresh questions relating to the cinematic representation of absence and female embodiment, sonic cinema and sensory experience.
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Grace Snell Costume Designer
Grace Snell Costume Designer Grace Snell is a BIFA nominated costume designer working on internationally acclaimed feature films, television and advertising campaigns. Grace has designed both parts of Joanna Hogg’s The Souvenir with the much anticipated second instalment currently in postproduction. Part one secured the coveted Grand Jury Prize in the World Cinema Dramatic Competition at the Sundance Film Festival 2019, and was most recently awarded best British/Irish film of the year at the London Film Critics’ Circle 2020. Having graduated from Wimbledon College of Art & Design in 2012, Grace is an esteemed alumni of the University of the Arts (UAL). Within her degree, Grace’s primary focus was the construction of garments including tailoring & bespoke dressmaking. This technical insight enables Grace to better understand the life her costume designs will take. Continuing to be involved with arts colleges as a guest speaker, Grace was recently a craft jurymember for the highly regarded British Arrows Awards. As well as being featured in globally renowned publications such as Variety, Grace has also been interviewed for Seventh Row’s eBook regarding their in-depth analysis of The Souvenir. 2018 saw Grace work with Billie Piper on her directorial debut ‘Rare Beasts’, which premiered at the Venice Film Festival in August 2019. Most recently, Grace has wrapped on an 8-part original drama for Sky Atlantic, collaborating once again with Billie Piper who co-created the show with Lucy Prebble. Grace is a unique designer who loves to be challenged by scripts. She approaches projects through in-depth research and curiosity.
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02 the Hollow Crown Bios
Press Contact: Harry Forbes 212.560.8027, [email protected] Lindsey Bernstein 212.560.6609, [email protected] Great Performances: The Hollow Crown Bios Tom Hiddleston After he was seen in a production of A Streetcar Named Desire by Lorraine Hamilton of the notable actors’ agency Hamilton Hodell, Tom Hiddleston was shortly thereafter given his first television role in Stephen Whittaker’s adaptation of Nicholas Nickleby (2001) for ITV, starring Charles Dance, James D’Arcy and Sophia Myles. Roles followed in two one-off television dramas co-produced by HBO and the BBC. The first was Conspiracy (2001), a film surrounding the story of the Wannsee Conference in 1942 to consolidate the decision to exterminate the Jews of Europe. The film prompted Tom’s first encounter with Kenneth Branagh who took the lead role of Heydrich. The second project came in 2002 in the critically acclaimed and Emmy Award- winning biopic of Winston Churchill The Gathering Storm, starring Albert Finney and Vanessa Redgrave. Tom played the role of Randolph Churchill, Winston’s son, and cites that particular experience – working alongside Finney and Redgrave, as well as Ronnie Barker, Tom Wilkinson, and Jim Broadbent – as extraordinary; one that changed his perspective on the art, craft and life of an actor. Tom graduated from RADA in 2005, and within a few weeks was cast as Oakley in the British independent film Unrelated by first-time director Joanna Hogg. Unrelated tells the story of a woman in her mid-40s who arrives alone at the Italian holiday home of an extended bourgeois family.
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Following Is a Listing of Public Relations Firms Who Have Represented Films at Previous Sundance Film Festivals
Following is a listing of public relations firms who have represented films at previous Sundance Film Festivals. This is just a sample of the firms that can help promote your film and is a good guide to start your search for representation. 11th Street Lot 11th Street Lot Marketing & PR offers strategic marketing and publicity services to independent films at every stage of release, from festival premiere to digital distribution, including traditional publicity (film reviews, regional and trade coverage, interviews and features); digital marketing (social media, email marketing, etc); and creative, custom audience-building initiatives. Contact: Lisa Trifone P: 646.926-4012 E: [email protected] www.11thstreetlot.com 42West 42West is a US entertainment public relations and consulting firm. A full service bi-coastal agency, 42West handles film release campaigns, awards campaigns, online marketing and publicity, strategic communications, personal publicity, and integrated promotions and marketing. With a presence at Sundance, Cannes, Toronto, Venice, Tribeca, SXSW, New York and Los Angeles film festivals, 42West plays a key role in supporting the sales of acquisition titles as well as launching a film through a festival publicity campaign. Past Sundance Films the company has represented include Joanna Hogg’s THE SOUVENIR (winner of World Cinema Grand Jury Prize: Dramatic), Lee Cronin’s THE HOLE IN THE GROUND, Paul Dano’s WILDLIFE, Sara Colangelo’s THE KINDERGARTEN TEACHER (winner of Director in U.S. competition), Maggie Bett’s NOVITIATE
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Tom Hiddleston
www.hamiltonhodell.co.uk Tom Hiddleston Talent Representation Telephone Christian Hodell +44 (0) 20 7636 1221 [email protected], Address [email protected], Hamilton Hodell, [email protected] 20 Golden Square London, W1F 9JL, United Kingdom Film Title Role Director Production Company AVENGERS: ENDGAME Loki Anthony Russo/Joe Russo Marvel/Disney AVENGERS: INFINITY WAR Loki Anthony Russo/Joe Russo Marvel/Disney EARLY MAN Lord Nooth (Voice) Nick Park Aardman Animations THOR: RAGNAROK Loki Taika Waititi Marvel/Disney KONG: SKULL ISLAND Captain James Conrad Jordan Vogt-Roberts Legendary Pictures/Warner Bros. I SAW THE LIGHT Hank Williams Marc Abraham Bron Studios/Sony Pictures HIGH-RISE Recorded Picture Dr. Robert Laing Ben Wheatley Nominated for the Best Actor Award, British Independent Film Awards, 2015 Company/Embargo Films/Film4 Legendary Pictures/Universal CRIMSON PEAK Sir Thomas Sharpe Guillermo del Toro Pictures MUPPETS: MOST WANTED Great Escapo James Bobbin Disney TINKERBELL AND THE PIRATE FAIRY Captain Hook (Voice) Peggy Holmes Disney EXHIBITION Jamie Macmillan Joanna Hogg Wild Horses Films ONLY LOVERS LEFT ALIVE Adam Jim Jarmusch Bad Blood Films THOR: THE DARK WORLD Loki Alan Taylor Marvel/Disney Nominated for the Best Supporting Actor Award, Empire Awards, 2014 THE AVENGERS Winner of the Best Villain Award, MTV Movie Awards, 2013 Winner of the Best Fight Award (Robert Downey Jr., Chris Evans, Mark Ruﬀalo, Loki Joss Whedon Marvel/Disney Chris Hemsworth, Scarlett Johansson and Jeremy Renner vs. Tom Hiddleston), MTV Movie Awards, 2013 THE DEEP BLUE SEA Freddie Page Terence Davies Deep Blue Sea Productions WAR HORSE Nominated for Best Picture, 84th Academy Awards, 2012 Captain Nicholls Steven Spielberg Dreamworks Nominated for Best Motion Picture - Drama, Golden Globe Awards, 2012 MIDNIGHT IN PARIS Nominated for Best Picture, 84th Academy Awards, 2012 Nominated for Best Motion Picture - Comedy of Musical, Golden Globe Awards, 2012 F.
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Words on the Move II
Words on the Move II An Afternoon of Readings and Discussion With Timberlake Wertenbaker, Catherine Grant, Valentina Castagna Introduction by Marina Warner June 17 2017 2-6.30pm Keynes Library, School of Arts and Humanities, Birkbeck College, 43 Gordon Square, London WC1H 0PD Cildo Meireles, 'Babel' (2001) The workshop "Words on the Move II" will reflect on current developments in broadcasting literary works and explore contemporary approaches to acoustic media, particularly by women and about women. Invited speakers will talk about oral and sound experimentation in performance and drama, written or adapted for radio or new digital platforms. The workshop will also ask, ‘Can developments in the use of voice, ‘spoken word’ events, and the broadcasting of literary works inform the creative writing workshop as a collaborative and participatory space?’ Key Note Speakers: Timberlake Wertenbaker, Playwright, adaptor, translator. Dr Valentina Castagna (Associate Research Fellow, Birkbeck; University of Palermo) Dr Catherine Grant (University of Sussex; Professor of Digital Media and Screen Studies at Birkbeck College, from Sept. 1 2017) Words on the Move I (November 1, 2016) focussed on poetry in performance, in connection with the international project Stories in Transit (2016-ongoing), and the work of the Watadd Research Network, to nourish storytelling and other forms of expression in refugee communities. A full list of speakers and research questions is available at this link. This second event in the series ‘Words on the Move’ is also associated with Stories in Transit and the work of the Watadd Research Network, and is addressed to scholars and lecturers interested in these themes, students from MA and PhD in English and Creative Writing from the School of Arts and Humanities of Birkbeck, as well as interested members of the public.
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Damsels in Distress? Women Film Directors and British Cinema Funding Post- Millennium
Damsels in Distress? Women film directors and British cinema funding post- millennium By Stella Hockenhull Keywords: female directors, Women in the Workplace, Directors UK, UK Film Council (UKFC), Christine Langan, Tessa Ross, Tanya Seghatchian On 28 March 2013, a small group of British female academics submitted written evidence of their findings to a Commons Select Committee concerning the dearth of British women film and television directors within the industry.1 Entitled Women in the Workplace (Conley et al. 2013), part of that report contained evidence from Directors UK, an organization formed in 2008 that calls itself ‘the voice of British film and television directors’ (Conley et al. 2013). A professional association with over 4,500 members, Directors UK explicitly expressed concern over the paucity of female film and television directors within the British media industry, although the period from 2000 to 2010 saw a rise in female film directors, reaching a peak in 2009, when they accounted for 17.2 per cent of British film directors overall.2 The increase coincides with the initiation of the UK Film Council (UKFC) and its changing policies concerning the encouragement of greater diversity and equal opportunities within the film industry. Within a historical context and in light of funding and UKFC policy, this article analyses its impact on women film directors in British cinema post-millennium. That women film directors in Britain (and indeed internationally) constitute a small percentage of the workforce is not a new phenomenon; indeed, during the preceding century women were also under-represented within the UK film industry. Before World War II there was little opportunity for women directors, particularly in directing fiction films and, according to Sue Harper, ‘[i]n the 1930s, women experienced extreme difficulties breaking into the technical side of production, and also into the union, the ACT’ (2000: 191).
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Joanna Hogg's Architectures of Affect: Exhibition and the Domestic Sphere
Avneet Randhawa College of Arts & Sciences, Class of 2021 Dr. Meta Mazaj, Department of Cinema & Media Studies Thesis and Conclusion Abstract Pincus Magaziner Family Undergraduate Research Fund As Western film critics and avant-garde directors of the 1970s Hailed as the next Chantal Akerman, Éric Rohmer, and insisted on the aesthetic omission of emotions within women’s Yasujiro Ozu, Joanna Hogg engages in a method of cinemas, Marxist-pscyhoanalytic theory became the dominant lens Primary Texts and Films through which feminist theorists approached questions of filmmaking that eludes categorization, making her oeuvre subjectivity and ideology. In her contribution to discourses on Exhibition, Joanna Hogg difficult to place within contemporary world cinema. While slow cinema, gendered fatigue, and non-productivity, Elena Unrelated, Joanna Hogg she hesitates to label her first feature films, Unrelated (2007), Gorfinkel highlights the multiplicity of feminine experience and Slow Cinema, Tiago de Luca and Nuno Barradas Jorge Archipelago (2010), and Exhibition (2013), as a trilogy, they the radical potentiality that seemingly aimless, weary female Affective Ecocriticism: Emotion, Embodiment, Environment, Graig Uhlin revel in similar issues of environmental affect, marital characters display in contemporary narrative films. Far from Narration in the Fiction Film, David Bordwell intimacy, and cinematic realism. For Hogg, “place has always Laura Mulvey’s vision of women’s cinema as formalist and Capitalist Realism, Mark Fisher been the starting point” from which she creates her middle- experimental, contemporary British director Joanna Hogg’s The Forms of the Affects, Eugenie Brikema class characters’ “choreographed dance” around their homes, oeuvre dwells on the emotional claustrophobia of domestic spaces believing that architecture exudes feelings and shapes human and the weary, bourgeois bodies that drift within them.
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The Souvenir Writer/Director Joanna Hogg’S Fourth Feature, the What Counts,’ She Told Seventh Row
by Jan Brookhouse UK, USA | 2019 | 120m | 15 Director: Joanna Hogg Starring: Honor Swinton Byrne, Tom Burke, Tilda Swinton, Richard Ayoade The Souvenir Writer/director Joanna Hogg’s fourth feature, The what counts,’ she told Seventh Row. ‘The most Souvenir premiered at the Sundance Film Festival, interesting thing to me [is] body language and where it won the World Cinema Grand Jury Prize: how people interact on screen.’ Instead, her Dramatic. Based on Hogg’s experiences in 1980s method is to write a detailed story document, London, it tells of a young upper middle class which she discusses with her cast, then directs by woman, Julie (Honor Swinton Byrne), an aspiring outlining what’s going to happen in a scene, filmmaker whose energies are divided between filming improvisation, and suggesting finding her path to creative self-expression and her modifications for successive takes. However, for relationship with a charismatic older man, Anthony The Souvenir, some phrases spoken during the real (Tom Burke). events remained so clear in her memory that she asked the actors to include them. Hogg began making notes for the film in 1988 but put it aside because, as she told The New Yorker, ‘I Julie’s mother is played by Tilda Swinton, winner of didn’t feel like I knew enough to be able to tell a over 60 acting awards to date, including an Oscar story about him. I didn’t realise at the time that I for Michael Clayton (2007). Friends since boarding could tell a story about me.’ After several decades school, a then-unknown Swinton starred in Hogg’s working as a TV director, then writing and film school graduation short Caprice (1986).
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