The filmmaker taps her past for semiautobiographical film but isn't beholden to an exact retelling.
In the first chapter, film school student Julie , a fictional stand-in for Hogg in the 1980s, falls for a cruelly alluring lover — not unlike a devastating romantic relationship the artist herself lived through as a young woman. With “Part II,” Hogg consummates a sweeping, inward-looking masterwork, one that reexamines and in certain cases amends reality, the likes of which few filmmakers reach in their careers.
Malleable in nature, the thematic framework of Hogg’s films — for which she doesn’t pen traditional screenplays but rather intuitive documents of ideas and references — is precise in concept but not in form. Unafraid of embracing the unpredictable that may arise from that process on set, she couldn’t be precious about every detail from her actual personal experience.
The maximum expression of that coming of age is the short film Julie brings to fruition within “The Souvenir: Part II,” a show-stopping, dreamlike set piece. Hogg envisioned her leading lady’s work to feel slightly similar to the film she herself made several decades ago, “Caprice,” but to also tackle the love affair she was so ill-equipped to back then.
Through this re-creation, and the entire two-film venture, Hogg’s conflicted feelings about the institution of higher education she attended, the National Film and Television School in Beaconsfield near London, have been reframed.“I’m more appreciative of what film school gave me and how sometimes the fights I had were necessary ones and maybe ultimately strengthened me as a filmmaker,” said Hogg. “At the time, it didn’t feel like that and that was sometimes difficult.
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