Joanna Hogg’s first movie, Unrelated (2007), opens in darkness: its main character, Anna, a woman of around forty, wheels a suitcase along a dirt road at night and is briefly lit up by a passing car. We don’t really grasp her situation until a few scenes later, when she greets the friend she’s visiting at a villa in Tuscany. This conspicuous lack of urgency in revealing the heroine and her circumstances proves to be a fair introduction to Hogg’s work: much of the film consists of prolonged stationary shots of rooms and horizons and bodies of water, or wide shots of Anna and her friend’s family on holiday.