Joanna Hogg follows up her semi-autobiographical 'Souvenir' movies with this marvelously atmospheric retooling of the haunted-house thriller.
. If you’ve seen either of those, you’ll recognize Swinton’s Rosalind immediately, several years older and with more of a rasp in her voice, though as elegant as ever in dress and manner. You’ll also know that Julie, with her invigorating warmth and stylish dark bob of hair, is a stand-in for Hogg herself, and that this curious, unsettling story is to some degree drawn from real life.
But if no one else is staying on the property, how to explain the loud banging noises that disturb Julie’s nightly slumber? Or the unseen intruder who at one point opens the door to her room, allowing Louis to escape? Is it just a trick of the wind, or is something creepier going on? Don’t worry too much about Louis, by the way; Hogg may be having fun with horror conventions, but this isn’t one of those sadistic exercises where the family pet winds up butchered.
There’s a mystery at the heart of this mother-daughter relationship, and “The Eternal Daughter,” despite its trim running time, is slow to surrender its secrets. Suffice to say it has something to do with Rosalind’s last visit to these premises decades earlier, when she was brought here as a child to shelter during the war. Her memories of that period are an unsurprising mix of the idyllic and the traumatic.
All this might have made “The Eternal Daughter” play like a dubious exercise in self-doubt, an apologia for its own existence. But the movie is much more than that. Hogg has fashioned a deeply moving tribute to her mother, one that hums with wit and glows with affection. And in Swinton’s exquisitely delineated performances, she has hit on something far more profound than a mere stunt.
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