Joanna Hogg’s follow-up to Unrelated serves as a worthy companion piece to her acclaimed debut. With her son Edward about to embark on a volunteer trip to Africa, doting mother Patricia gathers her family together for a getaway to a holiday home on idyllic Tresco, one of the Isles of Scilly.
This film is not currently playing on MUBI but 30 other great films are. See what’s now showing
Seen it 3 times stunning in its banality tension when the daughter finally explodes! Subtle tonality of the setting, a film about English emotional coolness to the nth degree almost unbearable but very real.easily the best of Hedges 3 films on the same upper class, she may have to find another subject to progress
Wonderful film. The breathtaking landscapes with washed out colors accompanied by chipping birds and the sound of trees moving in the wind all created a cold and gloomy ambience that went perfectly with the characters and the distance between them.
One of the most cinematically complete British films of the last 20 years. Not since Bill Douglas has a British film-maker utilized so perfectly the small details in both life and human interactions. It's almost like a mix between Chantal Akerman and Ozu.
In the synopsis, Mubi incorrectly lists Tresco as one of the Isles of Sicily instead of Scilly. Aside from the geographical mishap, this is another "vacation from hell" flick in the ongoing series of British upper class families imploding in slow motion and it is as bleak as any post-apocalyptic narrative you can think of. It's titled archipelago, but it a stark reminder that every man is an island.
The camera maintains a wary distance as it coolly observes the final throes of this incredibly disagreeable family. At no time did I feel any connection nor sympathy for them. The pompous bitch of a sister particularly loathsome. Archipelago fails to engage on any real level completely unlike Hogg's previous work "Unrelated".
Bourgeois leisure time is never more tense and foreboding (and moving) than in Hogg's wildly intelligent, observant, and affectionately imagined anti-dramas. Lydia Leonard is brilliant here as the woman who defiantly sends her mis-cooked food back to the kitchen only to learn that it is, after all, supposed to be that pink in the middle.
A film of such understated beauty and grace. The way Hogg experiments with light, shading and colour are sublime. No one is making films of this calibre in British cinema at the moment. Simply astonishing.