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.
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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.
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.
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.
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
A family holiday in the Scilly Isles as a send-off for the brother, going to Africa to help in sex education. It gets the tensions that can play out over tiny things at a dinner table, really about unspoken histories between mum, son and daughter. It's melancholic, but also a deeply deadpan satire - an examination of the hypocrisies of the British (upper-)middle class. Great use of sound, frame and offscreen space.
There is something morbidly English in the washout, watercolour-like landscape of Archipelago that acts as a backdrop to mundane stories of lost composure and disowned emotions in a class-ridden nuances played out to the minutest details of everyday life..