I must say that the most exciting thing about today’s National Board of Review announcement for me was the Best Actress honor for Tilda Swinton. Firstly, it’s refreshing when these groups shake things up a bit and keep the competition going. But more than that, I think Swinton is one of those actresses who enrich just about every conversation, Oscar season or otherwise. Her strength isn’t simply that she’s an extraordinarily talented actress, but that she chooses projects and collaborations that dare to enrich and extend art and cinema as a whole. Too many of the leading female performances raved about this awards cycle are in safe and uninteresting movies, which is never a problem for a Swinton picture.
But enough general gushing. Let’s go back to an early point in Swinton’s career, one of her very first film roles. A year after appearing in Caravaggio, her first collaboration with Derek Jarman, the director asked her to star in his contribution to 1987’s Aria (which I covered earlier this week, as a tribute to Ken Russell). The music is the famous Depuis le jour from Gustave Charpentier’s Louise, a sweet ode to young love. It’s a gorgeously simple short from the often provocative director, as earnest in its beauty as the music itself. Continue reading