Summarize this content to 2000 words in 6 paragraphs in Arabic The star of Joanna Hogg\u2019s latest film is a handbag. \u201cI should introduce myself,\u201d it announces, in Italian, from its slightly forlorn perch overlooking the surrounding hills. The bag is greying and slightly scruffy. \u201cI am a handbag near the end of my life,\u201d it\u00a0continues. \u201cAnd I wish to tell you my story…\u201dAutobiografia di una Borsetta tells the story of Miu Miu\u2019s The Wander, and its journey from the factory floor where it is \u201ctouched\u201d into life by its \u201cMother\u201d, and through the many hands that possess it thereafter, from an impressionable lovestruck young teen, via a street hawker and to its lonely end sitting in a field. It\u2019s a sad little tale, shot from the bag\u2019s perspective: the camera is often positioned from within the bag so that we see the world through the narrow oval of its opening. And although it makes a romantic eulogy to one of Miu Miu\u2019s most coveted accessories, it\u2019s also a gentle commentary on the lifespan of a product, the emotional value of our personal effects and the whims of fashionability and desire. The film marks the 29th Miu Miu Women\u2019s Tales, an\u00a0ongoing series of short films inaugurated in 2011 and\u00a0designed to celebrate creativity in film and the empowerment of women. Hogg joins filmmakers Mati Diop, Agn\u00e8s Varda, Ava DuVernay, Naomi Kawase and Lynne Ramsay as the latest contributor to one of the brand\u2019s most prestigious cultural programmes (the film premieres this month). \u201cWe all know Joanna is one of\u00a0the\u00a0leading filmmakers of our time and we are very happy that she has joined the Miu Miu Women\u2019s Tales family,\u201d says Miuccia Prada. \u201cThe way she portrays and examines relationships and the souls of her characters is\u00a0unique and profoundly human.\u201dFor Hogg, the film was an opportunity to flex a new\u00a0directorial muscle. The 64-year-old director is\u00a0celebrated for a taut oeuvre of seven films \u2013 including\u00a0Unrelated and Archipelago, and the more autobiographical The Souvenir \u2013 that have focused on quiet\u00a0but emotionally devastating dramas set among the\u00a0upper middle class. Autobiografia marked two new developments: Hogg shot it herself, as her own cinematographer, and she collaborated with an Italian cast and crew, working entirely in another language.\u201cI\u2019ve been really trying to move out of my own cinema, move out of working within a particular media,\u201d says Hogg in\u00a0a clear, perfectly enunciated RP that my AI transcription service can interpret to the comma. \u201cI feel I\u2019m always typecast now as working within a certain\u00a0part of the class system, which I really hate, right?\u00a0Very like an\u00a0actor being typecast, you know? You\u00a0want to break out\u00a0into new territory.\u201d She is speaking from her kitchen near Rome while she\u00a0is finishing the edit. It\u2019s part of \u201ca new experiment\u201d that sees her living between London and Italy with her\u00a0partner, the visual artist Nick Turvey. She seems unconvinced about\u00a0the benefits of dual habitation, though she speaks fluent Italian (her debut feature Unrelated was\u00a0shot in a villa outside Siena where Hogg once stayed\u00a0while taking a painting course). It\u2019s all part of her\u00a0latest plan to try and be more \u201cbrave\u201d.The Miu Miu commission offered her an opportunity \u2013 and a challenge. \u201cThe fantastic thing about this very open brief is that I see Miu Miu, or I see Mrs Prada, as somebody very adventurous, you know, not afraid to try new ideas. And I thought, OK, well, that\u2019s like a command to be brave and do something different to what you normally do.\u201dWearing a navy sweater, her hair tied back, with big spectacles, Hogg possesses a handsome beauty. She is a\u00a0keen follower of fashion and though she may not be a Miu Miu girl exactly (the red top worn in this shoot is something of a departure as it\u2019s so \u201cfitted\u201d), she is avowedly a Prada woman \u2013 she bought her first nylon Prada handbag in the 1980s when they first launched. \u201cI\u00a0do\u00a0think a lot about what I\u2019m going to wear,\u201d she says of\u00a0her style. When directing she likes to stick to a fairly utilitarian uniform. She is very preoccupied by the \u201ctactility\u201d of clothes. And that nothing be too tight. \u201cAs\u00a0I\u00a0grew up, my 20s were in the 1980s and gender was\u00a0something quite fluid then. I always felt very comfortable wearing Mrs Prada\u2019s clothes because they weren\u2019t super-feminine or oversexualised. They just felt very comfortable\u00a0and very yourself.\u201dLikewise, Hogg\u2019s films have always been filled with emotional baggage. From the wheely suitcase that the unhappy Anna trundles up the path in Unrelated to the crumpled plastic bag of mysterious ephemera that Tilda Swinton\u2019s Rosalind carries with her at all times in The Eternal Daughter, Hogg\u2019s films have a delicious specificity that anchors her characters in a clear social milieu. The daughter of John Hogg, who was the vice-chairman of a large insurance company, and Sarah Noel-Buxton, from a prominent English family, she grew up in an environment of intellectual depth and privilege near the town of Tunbridge Wells. As such, her films have been an extraordinary chronicle of class anxieties and Britishisms, all observed with an almost forensic understanding of social mores, sensible skirts and stocky shoes. Nevertheless, she credits the idea for Autobiografia di\u00a0una Borsetta to her friend John David Rhodes, professor of film and visual studies at Cambridge University, whom she first met in 2015. Rhodes has co-written a book with\u00a0Elena Gorfinkel about the cinematic prop, which will\u00a0be published this spring. Hogg saw an early draft when\u00a0he asked her for a blurb. \u201cIt\u2019s a really interesting book about how we see objects,\u201d says Hogg. \u201cIt goes from Douglas Sirk and the objects in his films to, you know, the way Bresson uses the\u00a0prop\u2026 And then I thought, well, OK, what are the props in fashion? And obviously the handbag is one. I find handbags very appealing anyway \u2013 they are wonderful because they tend to change hands.\u201d (In\u00a0the footnotes of\u00a0the script sent with a rough cut of\u00a0the Autobiografia, Hogg writes:\u00a0\u201cThe handbag is the ultimate Bressonian model; expressionless, allowing us to imprint ourselves onto\u00a0the bag, yet baring its soul to the camera.\u201d)Rhodes is equally effusive about Hogg. \u201cI\u00a0have always been interested in the specificity of places and objects in [Joanna\u2019s] work, which always exhibits a fierce attachment to the particular,\u201d he says, via email. \u201cBut\u00a0it was on the set\u00a0[of Souvenir II] that I had a sort of epiphany about how\u00a0Joanna uses props\u2026 In the room that had been converted into a makeshift store room for the film, there\u00a0was a shelf with a paper note stuck to it that read \u2018Joanna\u2019s\u00a0personal props \u2013 Do not touch!\u2019\u2026\u201cProp is short for property. So the props stored on those shelves were really personal, I suppose. Joanna often populates her films with things that she herself has actually lived with and handled. I think there is a real concreteness to her practice, and an intelligence about how things mediate, enable, expand our lives, or perform the same functions for how to tell a story.\u201dIn some ways, the Autobiografia makes an excellent companion piece to Caprice, Hogg\u2019s first 27-minute graduate film, made in 1986, and currently available on Mubi. That film is a phantasmagorical satire, starring Tilda Swinton as a young fashion enthusiast who enters the pages of her favourite glossy magazine only to discover the fantasy world she so admires is in fact narrow-minded, venal and rather sad. In a wonderful irony, the world of Caprice, with its pastel satins and mid-\u201980s artifice, now looks powerfully dated, while Swinton, then about 26, radiant, make-up free, and wearing horn-rimmed spectacles, looks like\u00a0a model in the current Miu Miu campaign. Hogg has known Swinton since childhood. Their parents were family friends, and the pair attended the same school, the famously highbrow but unacademic West Heath, in Sevenoaks, also attended by the late Diana, Princess of Wales. Swinton starred in the Souvenir films, with her daughter Honor Swinton Byrne, as well as playing both mother and daughter in The Eternal Daughter. The actress and director share the same brisk energy, poise and slight ferocity. Asked if Swinton is her muse, Hogg wrinkles her nose. \u201cI don\u2019t know. What does muse mean exactly? Good question. Tilda and I have just a very long, long, deep friendship,\u201d says Hogg. \u201cAnd we\u2019ve got so many frames of reference in common. So it\u2019s sort of beyond that somehow. That was what was so special about The Eternal Daughter\u2026 we couldn\u2019t have done it with anybody else\u2026 Sometimes it was almost like it was just she and I making the film. Of course, there was everybody around us supporting us. But it was very intimate and very, very special. And I think, if it was possible, it deepened our friendship.\u201d The Women\u2019s Tales series might be a nice commercial fillip for an independent artist, but Hogg\u2019s ambitions for the\u00a0project were pure. Hogg is inspired by Miuccia Prada\u2019s \u201cadventurous\u201d spirit. In what way? \u201cShe\u2019s adventurous in what she\u2019s doing in terms of supporting artists and exhibitions,\u201d says Hogg. \u201cShe\u2019s allowing people to have different ideas, to have their own voice. And she\u2019s not afraid\u00a0of ideas. She\u2019s not afraid of politics. She just seems\u00a0very fearless. And what she designs in her clothes\u2026 there\u2019s a fearlessness there, as well.\u201dHogg often talks about her own lack of confidence \u2013 \u201cI think I\u2019m very brave in my personal life, but I don\u2019t feel like I\u2019m a confident person at all,\u201d she exclaims. Nevertheless, her films have become more autobiographical with time, and with them a degree of self-revelation that some might find terribly exposing. It must take a degree of bravery, for example, to offer a recording of a therapy session done in\u00a0the aftermath of a personal tragedy to an actor so that they\u00a0might better understand a scene.\u201cMaybe my bravery can be expressed creatively,\u201d concedes Hogg, who did precisely that when filming The\u00a0Souvenir. \u201cBut, I think the heart of my creativity has\u00a0got to be a bit shaky and uncertain and maybe a bit dark or something, you know?\u201d The next step for Hogg would be to make a full feature in an environment, like she did in Rome, that feels strange and unfamiliar. She would also like to make a film set in LA. I wonder if Hogg feels herself a maker of \u201cwomen\u2019s tales\u201d? She pauses. \u201cIn my life. I\u2019m not thinking, I\u2019m a woman. I don\u2019t\u2026 So I tend to identify myself as a woman, but I\u2019m just me wanting to express my ideas. I\u2019m not tailoring them to something\u2026\u201d she stops. Many of her films have drawn on the themes of childlessness and responsibility that\u00a0seem uniquely female in some way. \u201cI don\u2019t know. I don\u2019t think I\u2019m particularly feminine,\u201d she argues. \u201cI\u00a0don\u2019t mean that I\u2019m androgynous, but I\u2019m not aware of seeing the\u00a0world from a female perspective.\u201dLater, we talk about this film awards season and how a number of female directors have looked at the experience of \u201colder\u201d women on screen. Films such as The Substance, Babygirl and The Last Showgirl have reignited long-worn conversations about female sexuality and commercial currency, especially in the world of entertainment. Having said that she\u2019s not especially interested in seeing things from a woman\u2019s point of view, I wonder if there\u2019s anything she\u2019d like to contribute to that dialogue?\u201cFunnily enough, I have noticed that there have been some films this year that have been talking about women ageing, and women of a certain age,\u201d she laughs. \u201cAnd it\u2019s ignited in me a desire to make a film that, actually, I wanted to make about 20 years ago. Well, I\u2019m not going to talk and tell the story because I might go ahead and make the film. But anyway, it\u2019s all around that subject. What I felt wasn\u2019t being expressed in those films, that I feel passionate about wanting to express, is to do with women ageing and wanting to see another side of that, that I haven\u2019t seen.\u201dSomething a bit greyer and sadder? Something that doesn\u2019t focus solely on a woman\u2019s sexual attractiveness? Or neuroses? Or desirability? \u201cSomething that shows a respect for someone who\u2019s getting older,\u201d she counters. \u201cNot seeing it as the worst thing that can happen.\u201dA film about a woman ageing, without any emotional baggage? Now that would be brave. <\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic The star of Joanna Hogg\u2019s latest film is a handbag. \u201cI should introduce myself,\u201d it announces, in Italian, from its slightly forlorn perch overlooking the surrounding hills. The bag is greying and slightly scruffy. \u201cI am a handbag near the end of my life,\u201d<\/p>\n","protected":false},"author":1,"featured_media":192519,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-192518","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/192518","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=192518"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/192518\/revisions"}],"predecessor-version":[{"id":192520,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/192518\/revisions\/192520"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/192519"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=192518"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=192518"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=192518"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}