joanna ( 2013 film )
reviewed at curzon soho, london, aug. 7, 2013. (in locarno film festival — competing .) running time: 104 min .
joanna hogg' s exquisite, chilly third feature teeters between very boring and completely fascinating .
the new joanna hogg film is a tinder - dry meditation on the uneasy commingling of our public and private selves: just the ticket for sunday afternoon if the kids have already seen spider - man .
for those not in the los angeles area, you can also find joanna internationally on itunes and on vimeo .
dir: joanna hogg; starring: viv albertine, liam gillick, tom hiddleston, harry kershaw. 15 cert, 105 min .
the story unfolds in a very tender and metered way, with information slowly revealed about each of your characters. how much time did you spend with joanna and her family? knowing how ill joanna was, did you feel a sense of urgency when filming her story ?
“joanna” flips the equation, centering on a mother with only three months to live who’s determined to maximize the time she has left with her young son and husband. in this case, director aneta kopacz didn’t know her subject personally, but was touched by joanna salyga’s blog, “chustka, ” in which she shared her experiences with readers, a number of whom stepped up to sponsor the crowd - funded short. almost none of this information comes across in the film itself, which serves as an artsy portrait her son can use to remember her by in the future, shot in shallow focus; cobbled together with jumpy, impressionistic cuts; and composed of seemingly mundane moments between joanna and her family. “joanna” is melancholy in the extreme, but reminds how much we take for granted, from seeing rainbows to teaching our kids to ride a bike .
you can catch joanna at docuday la, the ida' s annual celebration of the feature and short documentary films nominated for oscar®. the film will screen at 3: 35pm on saturday, febrary 21 at the writer' s guild of america theater as part of shorts program ii with fellow nominee la parka (the reaper) .
achievement in film editing american sniper joel cox and gary d. roach boyhood sandra adair the grand budapest hotel barney pilling the imitation game william goldenberg whiplash tom cross
shot in a vérité style over the course of just a few months, joanna remains primarily inside the rooms of the family’s home and in the surrounding woods, where joanna seems to be insuring that many a sun - kissed memory is literally planted for her son and his future self. neither joanna nor her family ever directly addresses the camera, and we never linger on a sit - down interview between filmmaker and subject. instead life plays out in its small yet important moments, with stunning cinematography reminding us of the beauty found in life' s everyday simplicity .
joanna hogg is an artist and film - maker who entrances and enrages. after the first wave of praise from fans (such as me), her movies tend to get a backlash of incredulity and scorn from those who would prefer the envelope unpushed and unmolested. in the runup to its release, this latest film has already provoked some giggles and putdowns online. some of the tweets i' ve been getting have felt like seat - bangs from some derisive digital walkout. it only makes me love her more .
in 40 short minutes, aneta kopacz' s oscar® - nominated short documentary joanna invites us in, embraces us unconditionally, and reveals a brief portrait of a woman facing the realities of a terminal illness. the titular joanna, a woman slight of stature but substantial in wisdom, copes with the reality of her condition by sharing as much as she can with her brilliant son janek, a boy of roughly 8 years of age who asks questions as deep and important as any learned philosopher. she publishes her thoughts and succinct life lessons on her blog, where thousands of readers join her in the legacy of her final days. the times spent with her son are interspersed with tender moments between joanna and her adoring husband, whose patience and calming presence adds to the film’s deep warmth .
the look of joanna is very impressionistic, which somewhat belies her straightforward writing style on her blog and the way she raises her child. what helped you decide on the final visual aesthetic for this project ?
best documentary short subject crisis hotline: veterans press 1 ellen goosenberg kent and dana perry joanna aneta kopacz our curse tomasz sliwinski and maciej slesicki the reaper (la parka) gabriel serra arguello white earth j. christian jensen
how was it working with joanna’s son janek? neither he nor the rest of the family ever seemed to notice the camera in the room. was it just you and cinematographer łucasz żal with the family at all times ?
where joanna seems hyper - sensitized to every moment that she has left, efrain jimenez garcia — the slaughterhouse worker profiled in gabriel serra’s “the reaper” — seems totally desensitized to life. according to an info card flashed at the end of the film, efrain has been killing 500 bulls a day, six days a week for the past 25 years. such a job must take it toll on someone, and sure enough, the man we see appears virtually numb to the world around him — though it might just be the way the film presents him, following efrain into the abattoir, staring unflinchingly at the cattle’s faces as they are led into the pen and killed. characterized by its stark, high - impact imagery, yet far from objective in its portrayal, the film displays a photographer’s eye, a sociologist’s curiosity and a vegetarian’s agenda .
it was a long and hardworking road. for nearly the past two years i traveled the world at festivals and have promoted joanna. i was constantly on my way. my life partner, tomasz sredniawa, who is cowriter for the movie often travels with me, sometimes we take our little daughter. now she is also with us in los angeles. so the film is present in our life all the time. being honest, our whole life revolves around the film; there is nothing else. i am really tired and i am missing such a relaxing and carefree time with my daughter. i am really looking forward to it after oscars. can' t wait !
we reached out to director aneta kopacz via email to ask her how she came to the film' s visual style, about crowdfunding in poland, and how she will spend her time after the oscars® are over .
your film is very lyrical, shot in a true vérité style. i appreciate that you get such intimacy without ever interviewing your subjects, but just by allowing them to live their lives. do you always work this way ?
exhibition is her third feature — her last, archipelago, was released in 2010, to near - blanket critical acclaim — and it establishes her as our preeminent pryer into the affairs of the english haute - bourgeoisie. the film is set almost entirely in a modernist des - res in west london, where its married owners are reluctantly preparing to move out. (tom hiddleston, who made his film debut in unrelated and starred in archipelago, has a fun cameo as their gloopy estate agent. )
i went to the bookseller club, where a radio reportage about joanna was going to be presented. i knew she would be a special guest there. during the reportage emission, when her son' s voice appeared, joanna couldn' t control her emotions and left. after a while, i went for her. barely visible, she was standing with her back to me in a dark, empty room. a thought came to my mind that she is very petite. i walked over to her and introduced myself. for a moment we just looked at each other in silence and tears came to our eyes. i felt the incredible mutual intimacy then, like we knew each other forever. i told her that i wanted to make a film about her. she looked at me and said ,
no, that would interfere with my privacy .
then i learned that she had film proposals from well - known film directors and she refused to all of them. i asked her for just a minute to express how i would like to keep her story in the image. i said that if after this one minute she would say
no
, i will never bother her any more. she actually never said
yes
, but after this one minute, she didn' t say
no
. so two days later, we had the first shooting day .
the english director joanna hogg has a knack for making us squirm. her new film, ‘exhibition’, is an experimental at - home - with drama about two london artists, d (viv albertine) and h (liam gillick) who have lived together in a modernist house for 18 years. now – for reasons unclear – they’re about to move. in some ways this is a departure from hogg’s previous films, ‘unrelated’ and ‘archipelago’, both of which were portraits of unhappy, posh families on holiday. it’s urban. it’s less talky. it offers a hint of the surreal. it even has a whisper of horror about it .
with acute sensitivity, brit writer - helmer joanna hogg’s third feature, “exhibition, ” explores the difficulty of telling inside from outside, intimacy from estrangement, and revelation from concealment. it seems entirely appropriate, then, that the whole thing teeters between very boring and completely fascinating, like being stuck on a plane in business - class seats next to a bickering couple [ … ]
mostly you need to apply to polish film institute for money for your project. if you are accepted, then you start; if not, you need to find another way, which is not easy. polish public tv produces documentaries as well, so this is also an option. i didn' t have time to apply my project and wait for the decision. i had to start immediately. so i went to wajda studio, that i had known before as i graduated from wajda school. they gave me a small amount of money for the start. during the whole time of making joanna i was constantly looking for more funding. i found the co - producer, [ then a ] sponsor, and at the end i used crowdfunding. joanna was pretty popular among internet users, due to her blog. people wanted a movie about her very much. so as soon as they found out about the initiative of collecting money, we didn' t have to persuade them to help. the needed amount of money we collected in just three weeks, even though the expected time was two months .
( u. k .) an artificial eye release of a bfi, bbc presentation in association with rooks nest entertainment of a wild horses film co. production. (international sales: visit films, brooklyn .) produced by gayle griffiths. executive producers, lizzie francke, christine langan, ed wethered, michael sackler, julia godzinskaya .
joanna told me that since she learned that she was [ terminally ill ], all seemed to simplify. that means she needed less time to accept or reject what life gives to her. she did not need to wonder long; decisions were made faster. she felt harder, and experienced more intensely. i am the same. it also probably helped us to establish a close relationship more quickly .
we had to start immediately, before we got to know each other. in this case, time was uncompromising and running so fast. it was an unusual method of creating a documentary, but i had to face it. i had no choice. the most important thing in any relationship with another human being, regardless of the circumstances, is trust. however, it takes time, time that i didn' t have before the shooting. i tried hard to gain the trust of joanna. i spent time with her privately outside the film, telling her about myself. we [ shared ] our views [ and ] observations, discussing for hours. we were able to spend time together for only 5 months. these were her last months .
directed, written by joanna hogg. camera (color, hd), ed rutherford; editor, helle le fevre; production designer, stephane collonge; art director, pedro moura; sound (dolby digital), howard peryer; supervising sound designer, jovan ajder; supervising sound editor, ajder; re - recording mixer, ajder; assistant director, paolo guglielmotti; casting, olivia scott - webb .
i was recently a new mom, so i was staying at home taking care of my little daughter. one day i came across an article about joanna on the internet, from which i learned she was leading a blog. it was the only blog on the internet i ever read. it completely consumed me. i was absolutely delighted with the way she described her daily life. she reached the point, in one remarkable, slightly ironic sentence, where she could capture everything. i was fascinated. i decided to make a movie about joanna because she was unusual, beautiful, intelligent and wise, with an interesting point of view. because she loved life and she could touch it, derive from the ordinary everyday life and relationships with other people. for me there is nothing more precious. i am very much interested in such people and such films .
thanks to her blog, for many people joanna has become an icon of a thoughtful and joyful life. the blog describes her daily life honestly and accurately: her goals are as simple as a family trip to the polish lake district; her planning as short - term as witnessing her son' s first successful bike ride without training wheels. she starts the blog when she finds out she has cancer and is given three months to live. then she promises her 5 - year - old son, jas, that she will do her best to survive for as long as possible. and she starts writing for him. the documentary shows the everyday existence of joanna, her husband piotr, and little jas. it is as discreet as it is moving. through few well - chosen words and observations it manages to be both essential and sensuous. a story of thoughtfulness in death, life and love .
truly one of the best documentaries i' ve seen. ultimate ending. i have no idea how can you make such a sad film with an optimistic feeling... scenes are cut short, to never fully let you soak in the depth of her condition until the end, and even then the future has been created already with her presence via the messages. i guess everyone is aware of the cancer, what it does physically and mentally, in this film, we can also see what it does to the family, the son and the ultimate aftermath. your own problems will not seem the same once you will watch this. prepare yourself for some crying, even you think you are a tough cookie. life and a movie has never been this close, or this real. masterpiece, worth an oscar .
the selection of two polish docus, both about people coping with fatal conditions, comes as pure coincidence, but a compelling one given the country’s frontrunner status in the foreign language race with “ida. ” made in film school, tomasz sliwinski’s autobiographical “our curse” depicts how the helmer and his wife magda struggle to raise their newborn son, leo, who has been diagnosed with congenital central hypoventilation syndrome, or ondine’s curse, an extremely rare disorder in which the body ceases to regulate breathing during sleep and therefore requires the support of an elaborate machine. there aren’t many sounds more heartbreaking than a child’s cries distorted through the tracheotomy incision in his throat, and one can only begin to imagine what the parents must be going through — which is precisely what sliwinski aims to capture, turning the camera on himself and magda, in what proves to be an uncomfortably personal film .
there is something disturbing in the way these feelings and alienated emotions have been displaced outwards. the house could be their prison, or their refuge, or their private exhibition space for emotional pain. as for d' s mental state, is she losing it – or gaining it? it could be that, in her impossibly rarefied way, this contorted figure is absorbing the unspoken distress and is evolving into a butterfly of creativity. exhibition is challenging, sensual, brilliant film - making .
with acute sensitivity, brit writer - helmer joanna hogg ’s third feature, “ exhibition, ” explores the difficulty of telling inside from outside, intimacy from estrangement, and revelation from concealment. it seems entirely appropriate, then, that the whole thing teeters between very boring and completely fascinating, like being stuck on a plane in business - class seats next to a bickering couple you can’t stop eavesdropping on. formally more ambitious but even more spare, brooding and oblique than her uncompromisingly rarefied previous pics, “unrelated” and “archipelago, ” “ exhibition ” could divide hogg’s small but loyal pool of fans .
given how deeply embedded hogg’s previous films felt in a particular kind of english, well - bred, urban - sophisticate world, it almost comes as a shock to realize this is her first film to be set in london itself. it was so palpably obvious — to british ears, based on accent alone — that blighty’s capital was where those characters from “unrelated” and “archipelago” lived most of the time, even if the films themselves were set in vacation homes in, respectively, tuscany and tresco, one of the isles of scilly .
another big difference between ‘exhibition’ and hogg’s earlier films is that here she’s more comfortable exploring the gaps between conversations and interactions. talk recedes, and instead we’re asked to concentrate on other noises – the roadworks outside or the internal sliding doors opening and shutting. for a lot of the film, we’re observing these characters, alone or together, not necessarily engaging. it’s a compelling study of a relationship, but one that demands patience. it’s curious and mysterious, as if we don’t have enough information to make a judgement call on them .
it’s a bit of a shame, then, that viewers aren’t allowed a bit more emotional access due to the pic’s fundamental lack of drama. some will feel there’s just too much time spent watching these characters do hardly anything at all, and at times we can’t even see them directly, just their reflections in windows, precisely aligned and framed by ed rutherford’s painstaking lensing. all in all, it’s an exquisite, chilly film about an exquisite, chilly couple with a very acute set of first world problems, like a richard curtis movie filmed by andrei tarkovsky, without the one - liners .
judged on artistic merits alone, “white earth” would be the category’s winner, but it has stiff competition in ellen goosenberg kent’s “crisis hotline: veterans press 1, ” which grips us from the get - go with its opening statistic — “america’s veterans are killing themselves at a rate of 22 a day, nearly one every hour” — and never lets go. like a white - knuckle tv procedural, the docu takes us behind the scenes of the veterans crisis line center in canandaigua, n. y. , where trained pros team up to talk post - traumatic stress cases off the ledge. on the other end, troubled vets sit with loaded guns in hand or razor blades within reach, having taken the trouble to call the number before taking drastic action — or, in one case, while waiting for the pills to take effect (a chilling real - world version of the scenario dramatized in live - action short nom “the phone call” with a far different outcome). clearly, something must be done to help vets cope with their experience, an idea the film addresses obliquely, emphasizing the call center’s day - to - day struggle to keep these survivors alive. for patriots and anti - war objectors alike, the film demonstrates the consequences of military service and brings the abstract idea of war back home in a powerful way, recognizing those who protect the men and women who fought to protect us .
it’s annoying, especially to women viewers, that every time a female actor over the age of 40 takes her clothes off in a film she’s called brave, but albertine’s willingness to expose herself here, physically and emotionally, is nevertheless impressive, especially since she’s not a professional thesp. a scene in which d masturbates in bed beside a sleeping h is astonishing, simultaneously quietly erotic, stridently sad and brutally honest about femme sexuality, exactly the opposite of pornographic convention. albertine deserves kudos, as does gillick and above all hogg, whose skill at coaxing spontaneous performances from semi - improvised dialogue has never been better showcased than it is here. audiences will never be in doubt that she and her cast members know these people from the inside out .
d and h aren’t on vacation, but it might look that way to anyone who’s not a self - employed creative type who works from home. she’s a performance artist, and he also does something in the arts — maybe architecture — although, like so much here, it’s not explained what exactly. they spend most of their time and the movie padding from their individual home offices to the bedroom to the living room of their lushly glazed modernist house (designed by architect james melvin, to whom the film is dedicated), somewhere in the borough of uber - wealthy kensington and chelsea, and they. once in a while, he calls her on the phone’s intercom system, indirectly proposing a bout of sex to break up the day. mostly, she declines .
exhibition is a superbly glacial and composed experiment in fictional cine - portraiture; a refrigerated study in domesticity and sophistication, mysterious and preposterous – a movie that might claim its lineage from rachel whiteread' s cast sculpture house, or david hockney' s painting mr and mrs clark and percy. hogg uses her characteristic long takes from fixed camera positions; she uses available light, and a kind of middle - distance sound design; it' s a film - making technique that makes you expect people on screen to start speaking not english but austrian - accented german. this is a movie quite uninterested in the structural conventions of narrative, though there is a story – of a sort. it is also uninterested in the conventional tonal imperative of irony, though there is comedy, and tragedy – of a sort .
meanwhile, in the snowy north dakota depicted in “white earth, ” director j. christian jensen chronicles the influx of opportunity seekers to a quiet oil - drilling town, ignoring the laborers in favor of their families. terrence malick would love the kid jensen finds wiling away his days in a crowded trailer park — a still - innocent witness to this grim, impermanent living arrangement, where oil - field workers have extended their rvs via makeshift plywood walls, suggesting a ramshackle 21st - century version of the california gold rush. it’s obvious why the men have come, so the film wisely privileges their kids, who sometimes go weeks without seeing their parents, describing the pungent gas smell that permeates their clothes when they come home. this year, all five noms are chasing some ineffable sense of poetry, but only jensen achieves it with this stanford master’s thesis project, collecting and arranging details in a way that makes it feel as if we’re experiencing the scene in person, fending off the cold and chasing the dream .
the leads are non - professionals. the former lead singer of the slits, viv albertine, and the turner - nominated artist liam gillick play a childless couple, identified as d and h, both contemporary artists and evidently of considerable private means, able to follow their vocations without worrying about money. they live in a handsome modernist house in london, with huge rectilinear spaces and its own eccentric lift. it was once home to its real - life architect, the late james melvin, to whom the film is dedicated. there is some tension between them: h is considerably more successful than d, whose performance art has not yet found acclaim. they have tense conversations about her work; their sex life is stalled and, in fact, the whole house seems to exist in a miasma of thwarted, introverted eroticism. when on her own, d does a great deal of masturbatory squirming and fantasising; she dictates her dreams into a machine on waking and often falls asleep hunched against walls or on window sills, like a cat. her behaviour becomes progressively more disturbed and we are gradually introduced to her inner life; the scenes hogg conjures have a mesmeric, hallucinatory quality .
thought the entire category is must - see viewing for oscar completists, two shorts — ‘white earth’ and ‘crisis hotline’ — are strong enough to make everyone’s to - watch list .
no doubt the least - watched of any oscar category, the documentary short films are the great beneficiaries of the academy’s magnanimity, both in continuing to recognize an outdated format and in directing attention toward worthy causes. in the early days, the prizes typically went to propaganda films made by the u. s. army, navy and marine corps. now, it’s one way ampas demonstrates its engagement with various social issues, nearly always celebrating subject matter over cinematic achievement, as evidenced by its selection of two polish - made terminal - illness portraits, two serious - minded employment impact studies and a pressing look at the veteran suicide epidemic .
fortunately, a couple of these noms — specifically, “white earth” and “crisis hotline: veterans press 1” — are truly exceptional films in their own right, treasures you almost certainly wouldn’t see if not for their nominated status (the former debuted at slamdance but never ventured far from the festival circuit, the latter can be seen on hbo). thanks to the efforts of shorts international, however, they are also available in theaters, split across two hefty programs; individually on vimeo and other online platforms; or on - demand via select cable providers .
reviewed online, feb. 20, 2015, paris. running time: 164 min .
no doubt the least - watched of any oscar category, the documentary short films are the great beneficiaries of the academy’s magnanimity, both in continuing to recognize an outdated format and in directing attention toward worthy causes. in the early days, the prizes typically went to propaganda films made by the u. s. army, navy and marine corps. now, [ … ]
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updated with more details: fox searchlight’s the grand budapest hotel and birdman led the way this morning with nine mentions apiece as nominations were announced for the 87th oscars, with the weinstein company’s the imitation game following with eight. all three were included in the best picture race in a category that featured only eight of a possible 10 nominees, joining warner bros’ american sniper, early awards - season frontrunner boyhood from ifc films, focus feature’ the theory of everything, sony pictures classics’ whiplash and paramount’s selma .
selma, which had been left off of several awards lists before today, finally scored with a best pic nom, but director ava duvernay and lead actor david oyelowo were left off in their respective categories. among the late bloomers to score this morning was american sniper, which landed six noms overall including best pic, best actor for bradley cooper and best adapted screenplay for jason hall but not a best director nom for clint eastwood .
the best actor list features steve carell for foxcatcher, benedict cumberbatch for imitation game, michael keaton for birdman, and eddie redmayne for theory of everything. the best director noms are alejandro g. inarritu for birdman (he also shared an original screenplay nom), bennett miller for foxcatcher, wes anderson for budapest, morten tyldum for imitation game and golden globe’s winner richard linklater for boyhood, which had six total noms today .
despite the success in the individual categories, foxcatcher also did not make the marquee best picture list. neither did fox searchlight’s wild. still, that studio dominated the morning with 21 total nominations .
frontrunner julianne moore led the best actress noms for sony classics’ still alice, joining marion cotillard for ifc’s two days, one night, felicity jones for theory of everything, rosamund pike for gone girl and reese witherspoon for wild .
the academy of motion picture arts & sciences unveiled nominations this morning at the samuel goldwyn theater in beverly hills in a special two - part announcement of all 24 categories .
best motion picture of the year american sniper clint eastwood, robert lorenz, andrew lazar, bradley cooper and peter morgan, producers birdman or (the unexpected virtue of ignorance) alejandro g. iñárritu, john lesher and james w. skotchdopole, producers boyhood richard linklater and cathleen sutherland, producers the grand budapest hotel wes anderson, scott rudin, steven rales and jeremy dawson, producers the imitation game nora grossman, ido ostrowsky and teddy schwarzman, producers selma christian colson, oprah winfrey, dede gardner and jeremy kleiner, producers the theory of everything tim bevan, eric fellner, lisa bruce and anthony mccarten, producers whiplash jason blum, helen estabrook and david lancaster, producers
performance by an actor in a supporting role robert duvall in the judge ethan hawke in boyhood edward norton in birdman or (the unexpected virtue of ignorance) mark ruffalo in foxcatcher j. k. simmons in whiplash
achievement in directing alejandro g. iñárritu, birdman or (the unexpected virtue of ignorance) richard linklater, boyhood bennett miller, foxcatcher wes anderson, the grand budapest hotel morten tyldum, the imitation game
original screenplay birdman or (the unexpected virtue of ignorance) written by alejandro g. iñárritu, nicolás giacobone, alexander dinelaris, jr. & armando bo boyhood written by richard linklater foxcatcher written by e. max frye and dan futterman the grand budapest hotel screenplay by wes anderson; story by wes anderson & hugo guinness nightcrawler written by dan gilroy
achievement in cinematography birdman or (the unexpected virtue of ignorance) emmanuel lubezki the grand budapest hotel robert yeoman ida lukasz zal and ryszard lenczewski mr. turner dick pope unbroken roger deakins
achievement in costume design the grand budapest hotel milena canonero inherent vice mark bridges into the woods colleen atwood maleficent anna b. sheppard and jane clive mr. turner jacqueline durran
achievement in music written for motion pictures (original score) the grand budapest hotel alexandre desplat the imitation game alexandre desplat interstellar hans zimmer mr. turner gary yershon the theory of everything jóhann jóhannsson
achievement in production design the grand budapest hotel production design: adam stockhausen; set decoration: anna pinnock the imitation game production design: maria djurkovic; set decoration: tatiana macdonald interstellar production design: nathan crowley; set decoration: gary fettis into the woods production design: dennis gassner; set decoration: anna pinnock mr. turner production design: suzie davies; set decoration: charlotte watts
achievement in sound mixing american sniper john reitz, gregg rudloff and walt martin birdman or (the unexpected virtue of ignorance) jon taylor, frank a. montaño and thomas varga interstellar gary a. rizzo, gregg landaker and mark weingarten unbroken jon taylor, frank a. montaño and david lee whiplash craig mann, ben wilkins and thomas curley
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we were kind of similar to each other: [ of ] the same age, with a similar sense of humor, similar way of perceiving the world, loving life in the simplest things of its manifestations, tasting life with great sensibility. it certainly helped to get closer to each other and gain confidence, which then translated into a movie .
i try to work in this way. i prefer to find out about people from their behavior and relationships and build the story on that. there is nothing more interesting than to be able to get into somebody' s life, stay there for a while and have a chance to watch their daily life. i need to have the honest picture that later on the audience could believe; would really feel and would be emotionally connected. i am really fascinated in that kind of movie. i am fascinated by the human being. their emotions, relationships, weaknesses, strengths, temptations they cannot resist, masks they put on, hidden and revealed aspects of their conscious and subconscious. i love to absorb, to watch and to see, to listen and to hear .
there were three of us: the cinematographer, the sound man and me. when the scenes were very intimate, only łucasz was with the family .
the crew had to be invisible as much as possible. therefore we were often shooting while hiding behind the trees, behind the house. we shot through a window, a mirror, a reflection. we used long lenses to reduce the distance and achieve the feeling of closeness and intimacy. we did not want to destroy the intimacy and privacy of the family in the time spent together. we had to behave with extraordinary sensitivity and discretion .
day after day we all became more and more friends, and my protagonists familiarized themselves with the crew and the camera so that they behaved normally. but of course, at the beginning of shooting janek was constantly looking in to the camera. every time i asked -
janek, please take care of what you do and do not look in to the camera
- he looked even more. so one day i ran into a simple but such a brilliant idea! i asked him to keep looking directly into the camera. so he stopped .
i knew it from the very beginning. i just felt it like that. while reading a blog i imagined the movie to be exactly impressionistic. the only difficulty was to find the right cinematographer and explain my vision to him. it wasn' t easy to find the one who really felt what i was talking about. fortunately łucasz żal understood what the movie is about and how i [ wanted ] it to look. we were talking for hours about the visual aesthetic. and finally i had no doubt, and during the the whole process of shooting i was comforted in the belief that łucasz was the perfect choice. i was so lucky .
our next project will be the feature - length documentary, also very intimate and emotional. we are also in the process of writing a feature fiction screenplay based on a true story .
katharine relth is the digital communications manager for the ida. she has interviewed dozens of documentary filmmakers and written extensively about contemporary documentary and independent filmmaking for documentary. org, documentary magazine, indiewire and urltoken
the strange fact is that d and h want to move out of this extraordinary house, in which they have spent most of their adult lives, and on which they have lavished such care. they have presumably already found somewhere new; where they are moving is never mentioned, and neither is the asking price of the current place. tom hiddleston has a cameo as a sleek, courtier - like estate agent. why are they moving? because, as artists, they feel in some sense that they have outgrown the house and need to develop further, in a new context? or is it because something terrible has happened to them there, something they can never mention? this could be at the root of their dysfunction, somehow fused with the eerily calm house itself; something that can only be expressed or reclaimed by being tacitly transformed – into art .
it is an enigma manipulated and maintained with mastery. hogg' s approach is something that might be called asatirical: the anxieties of the bohemian classes are held up for stringent inspection, but not ridicule. d and h are a world away from, say, alan bennett' s stringalongs, and they are also subtly different from daniel auteuil and juliette binoche as the troubled couple in michael haneke' s 2005 drama hidden, who like d and h live high - status lives almost barricaded inside a gorgeous modern home in the middle of a capital city .
d and h' s comfortable existence is not there to be tortured and lacerated, although at one point there is a very hanekerian confrontation with a man who has had the bad taste to park in h' s private slot. this clash is not the point. these are tremors and after - shocks to something that has already happened .
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viv albertine, liam gillick, tom hiddleston, harry kershaw, mary roscoe, christopher mcwatters .
the two protagonists of “exhibition” are known only by their initials, d (musician viv albertine, guitarist for femme punk band the slits) and h (conceptual artist liam gillick, a contemporary of the now - not - so - young british artists who came to prominence in the 1990s). they could easily be friends, relatives or, at the very least, neighbors of the characters in hogg’s other films. indeed, d and h’s unnamed neighbor (mary roscoe), a barrister’s wife who’s in a permanent fret about her children, could be virtually the same character roscoe played in “unrelated. ”
with its crisp right angles and clanging spiral staircase, its complex system of sliding doors and whispering garden of wind - ruffled foliage, the house is a third protagonist in the story, the pampered and adored child substitute for d and h. for reasons also never explained, they have decided to sell up and move out after 18 years (perhaps the house is going off to college). in negotiations with the real - estate agents (one of whom is played by tom hiddleston, who made his bigscreen debut in “unrelated”), d and h try to ensure that no one buys the house planning to tear it down or even change it .
clearly, the thought of moving has disturbed the couple’s equilibrium, and a great weight of resentment and ennui is discernible beneath their testy verbal exchanges. d is possibly the one who’s more attached to their home; the striped shirts she frequently wears echo the horizontal lines of the venetian blinds. she’s imprisoned herself there, and seems frightened of going out for an evening stroll with h, who comes and goes more easily. the house is her stage, and she literally makes an exhibition of herself, like one of those lingerie - clad prostitutes who sit in cozy amsterdam windows, as she plays erotically with her semi - naked body; at one point she wraps herself in fluorescent tape in front of her office’s open window. there’s no dire consequence to this, as there might be in a more melodramatically minded movie, but the superbly crafted soundtrack of source noises makes it clear that the outside world — of passing pedestrians and cars and, at one point, a screaming ambulance — is just beyond the glass .
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hogg’s films are so fearlessly intelligent, and are built with such steel - enforced formal precision, that you feel as if you should check twice to see if she’s really british, although she grew up in a village near tunbridge wells, was mentored by derek jarman in her twenties, and directed episodes of casualty and eastenders before her debut feature, unrelated, was released in 2007, which pretty much settles it 50 times over .
d, played by the former punk singer viv albertine, is in love with the place: when we first see her she’s curled up against the window, like a caterpillar who’s found somewhere to pupate. h, her husband, is played by the conceptual artist liam gillick, and is trying to remain frostily practical .
both are artists, although d is suffering from creative block brought on by some unspecified past trauma. whatever happened has made her fearful of the outside world, particularly at night, and as she pads around her home we hear the city pressing in on all sides, in sirens, shouts and engine noise. she tries to plan a performance piece in her studio, and its huge windows, partly obscured by wooden blinds, turn the house into a queasy hybrid of fish tank and peep show .
hogg plays games with glassy surfaces, nesting reflections inside reflections to the point at which we can no longer tell if the camera is indoors or out. later the theme of inside and outside, public and private, is made fun of in some ripplingly funny skits about a parking space and an awful dinner party, from which d stages an inspired escape .
the couple have no children. is this significant, or connected to d’s unspoken upset? hogg withholds the specifics, and lets you decode things for yourself. her camera rarely moves, but every shot is composed with total artistry, building to a final image that’s somehow both joyful and devastating. this is work from the forefront of our new national cinema, and it rattles your nerves like stones in a tin .
in pictures - the story of love and romance: from adam and eve to tinder and chemsex. compiled by martin chilton
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but like those films, ‘exhibition’ succeeds in making us feel deeply uncomfortable for peering into other people’s lives. there are times here – when d is rehearsing some strange art performance, or when d and h are going through the motions of sex – that you’re not sure where to look. there’s something about the way hogg casts non - actors (albertine is a former punk star; gillick is an artist) that only increases the discomfort .
that’s not to say ‘exhibition’ is inaccessible or aloof. there’s sly humour to it, and some of the bursts of talk – especially meetings with the neighbours – are spiky and funny. certainly, there’s something very particular about d and h being artists that makes their lives feel distant from most of us. yet ‘exhibition’ also reminds us that behind closed doors, all families, relationships and affairs look very odd when you put them under the microscope .
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joanna is a 2013 polish documentary film by aneta kopacz about joanna salyga , a young woman with cancer with only three months to live , and her efforts to make the most of her time with her husband and young son . kopacz came to know salyga 's story through her blog chustka . salyga 's readers sponsored a crowdfunding campaign to produce this film . joanna was nominated for the academy award for best documentary ( short subject ) at the 87th academy awards . i do n’t feel disappointed and a loser in any way . i made a film which moves people all over the world as a significant experience and event in their lives . a film which won numerous awards and was nominated for an oscar ! and finally , a film which allows the memory of joanna to survive and which will show her son jaś what a simple day with his mom looked like . nothing is lost here ! — aneta kopacz said in a press release after the oscar ceremony . 
joanna is a 2013 polish documentary film by aneta kopacz about joanna salyga, a young woman with cancer with only three months to live, and her efforts to make the most of her time with her husband and young son. kopacz came to know salyga's story through her blog chustka. salyga's readers sponsored a crowdfunding campaign to produce this film. joanna was nominated for the academy award for best documentary (short subject) at the 87th academy awards. i do n’t feel disappointed and a loser in any way. i made a film which moves people all over the world as a significant experience and event in their lives. a film which won numerous awards and was nominated for an oscar! and finally, a film which allows the memory of joanna to survive and which will show her son jaś what a simple day with his mom looked like. nothing is lost here! — aneta kopacz said in a press release after the oscar ceremony.
joanna is a 2013 polish documentary film by aneta kopacz about joanna salyga, a young woman with cancer with only three months to live, and her efforts to make the most of her time with her husband and young son. kopacz came to know salyga's story through her blog chustka. salyga's readers sponsored a crowdfunding campaign to produce this film. joanna was nominated for the academy award for best documentary (short subject) at the 87th academy awards. i do n’t feel disappointed and a loser in any way. i made a film which moves people all over the world as a significant experience and event in their lives. a film which won numerous awards and was nominated for an oscar! and finally, a film which allows the memory of joanna to survive and which will show her son jaś what a simple day with his mom looked like. nothing is lost here! — aneta kopacz said in a press release after the oscar ceremony.