Name: The Eternal Daughter
Genre: Drama, Mystery
Released: 2022-12-02T00:00:00+00:00
Cast: Tilda Swinton, Joseph Mydell, Carly-Sophia Davies, Louis, Crispin Buxton

The camera lingers on Tilda Swinton‘s face, her eyes reflecting the flickering firelight as she listens to a ghost story in the back of a taxi. This quiet moment, charged with unspoken tension, sets the tone for Joanna Hogg’s The Eternal Daughter, a film that unfolds like a whisper in the dark.

Hogg’s semi-autobiographical Gothic mystery is a delicate exploration of motherhood and memory, anchored by Swinton’s extraordinary dual performance as both Julie, an artist grappling with her father’s death, and Rosalind, her elderly mother haunted by the past. The film’s strength lies in its subtlety; Hogg eschews cheap thrills or overt horror, instead crafting a haunting atmosphere through sound design—creaking floors, moaning wind—and Swinton’s nuanced acting.

The Eternal Daughter is not a traditional ghost story but rather an emotional state, as noted by Roger Ebert. It is about the illusion that Swinton is both Julie and Rosalind, a duality that blurs the lines between mother and daughter, past and present. This ambiguity extends to the film’s setting, a secluded hotel that was once Rosalind’s family estate.

The film’s pacing is deliberate, almost meditative, as it explores the complex dynamics of the mother-daughter relationship. Hogg uses long takes and static shots to emphasize the isolation and introspection of her characters. The use of natural light and sound further enhances the film’s immersive atmosphere.

Swinton’s performance is a tour de force. She embodies both Julie and Rosalind with such subtlety that it is easy to forget they are played by the same actor. Her ability to convey the nuances of grief, guilt, and love is astonishing. For instance, in the scene where Julie overhears Rosalind talking with Bill about her lack of children, Swinton’s expression shifts from concern to profound sorrow, capturing the depth of Julie’s emotional turmoil.

The film’s supporting cast, including Joseph Mydell as Bill and Carly-Sophia Davies as the receptionist, provide solid support but ultimately fade into the background. Their roles are more functional than substantial, serving to highlight Swinton’s central performance. Mydell, in particular, has a brief but impactful moment where he shares his own grief with Julie, creating a fleeting connection that adds depth to their interaction.

Hogg’s direction is confident and assured. She uses the setting of Soughton Hall to great effect, creating a sense of claustrophobia and unease that permeates the film. The use of sound design is particularly noteworthy, with creaking floors and moaning wind creating an atmosphere of dread. Hogg’s decision to shoot during the COVID-19 pandemic lockdown adds another layer of isolation and introspection to the film.

The film’s climax, where Julie is revealed to be alone at the table after her mother’s death, is a haunting moment that ties together the themes of loss and longing. This revelation is not just a narrative twist but a deeply emotional moment that underscores the film’s exploration of grief and memory. The final scene, where Julie departs the hotel and it is revealed to be full of guests and staff, adds another layer of ambiguity, leaving the viewer to question the reality of what they have witnessed.

The Eternal Daughter is not a film for everyone. Its deliberate pacing and ambiguity may frustrate some viewers who prefer more traditional narratives. However, those willing to engage with its subtle themes and nuanced performances will find it a deeply rewarding experience. The film’s exploration of motherhood and memory is particularly resonant in today’s cultural climate, where the complexities of family relationships are often overlooked.

The film’s themes of motherhood, memory, and Gothic immortalisation are explored with sensitivity and depth. Hogg’s use of the hotel as a metaphor for the past is particularly effective, creating a sense of history and haunting that permeates the film. The references to Rudyard Kipling’s semi-autobiographical story “They” add another layer of complexity, tying the film’s themes of memory and identity to a broader literary context.

In comparison to other films in the same genre, The Eternal Daughter stands out for its subtlety and emotional depth. While it lacks the overt horror elements of traditional ghost stories, its exploration of grief and memory is no less haunting. Films like The Others (2001) or The Sixth Sense (1999) rely on more conventional scares, whereas The Eternal Daughter trusts its audience to engage with its quieter, more introspective approach.

The Eternal Daughter is a deeply personal film that rewards patience and reflection. It is not a film that can be easily summarized or reduced to a simple plot description. Instead, it is an experience that lingers in the mind long after the credits have rolled. The film’s exploration of the mother-daughter relationship is particularly poignant, offering insights into the enduring bond between parent and child.

In conclusion, The Eternal Daughter is a haunting exploration of motherhood and memory, anchored by Tilda Swinton’s extraordinary dual performance. Joanna Hogg’s direction is confident and assured, using the setting and sound design to create an atmosphere of unease and introspection.