From a distance he seems too louche to be credible, but love � especially first love � is blind, and codependency makes it even blinder.
As the two gaze at the piece at The Wallace Collection in London, Anthony (a suitably predatory Tom Burke) intimates with trademark aristocratic cockiness � jaded and supercilious, half-mumbled and wholly unearned � that it is telling the contemporary Julie to fall in love with him. She is carving her lover�s initials into a tree. According to a 1792 catalogue, the small, delicate painting depicts Jean-Jacques Rousseau�s literary heroine, also named Julie. She is a film student living in the posh Knightsbridge section of London in the early 1980s, bankrolled by her comfortable, upper-middle-class parents he supposedly has some enigmatic position at the Foreign Office that reinforces his self-importance.
Photo courtesy of The New York Times.Ĭontributed by Jonathan Stevenson / In the autobiographical film The Souvenir, writer-director Joanna Hogg�s fourth and latest feature and a gemlike crystallization of her seamless method, she uses Jean-Honor� Franogard�s eighteenth-century canvas of the same title to set the terms of the budding relationship between Julie, the film�s ingenuous protagonist, and the older Anthony, a slithering cad to whose intuitively obvious vices and diseased nature she appears utterly oblivious. Tilda Swinton and Honor Swinton Byrne as Rosalind and Julie in “The Souvenir”.
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