A mild and mournful spell is solid through Joanna Hogg’s “The Eternal Daughter,” a ghost tale where reminiscence is manifested – visited, intruded upon and, subsequently, made to glow.

The movie begins, enchantingly, with fog drifting through barren tree branches and a white taxi winding via a country avenue. The gothic temper is right away cozily familiar. “The Eternal Daughter,” set totally in a creaky united states of america manor, may be very consciously operating in a style tradition, but from a very non-public angle.

“The Eternal Daughter,” which A24 released in theaters and on demand Friday, is a type of coda to Hogg’s closing films. The British filmmaker final made the 2-component “The Souvenir,” which painstakingly resurrected her personal recollections from her days as a movie scholar and culminated, fantastically, along with her assured self-attention as a director.

In “The Souvenir,” Honor Swinton Byrne performed Hogg’s fictional stand-in, Julie, a young filmmaker, with Tilda Swinton (Byrne’s actual-existence mother) gambling her mother. In “The Eternal Daughter,” Julie is now a center-aged, executed filmmaker and is performed with the aid of Swinton. She is taking her mom, Rosaline (also performed by way of Swinton) on a vacation to a Welsh hotel that Rosaline sheltered in throughout World War II. In this extended cinematic universe — the Hoggverse? — even one of the dogs from “The Souvenir,” a Springer Spaniel named Louis and Swinton’s real-life puppy, reprises his role.But the various doublings and actual-world mirrors that mirror through “The Eternal Daughter” are part of its enigmatic mystery. Not best is there something vaguely spectral approximately Rosaline, whose interactions are constrained to conversations along with her daughter, however the antique resort they are staying in is apparently empty and as a substitute inhospitable. When they come, the curt front-desk manager (Carly-Sophia Davies) can’t locate their reservation and, regardless of a wall full of keys behind her, best reluctantly offers them a room on the second one ground.

In this empty manor, Julie is making an attempt to spend a while together with her mom and get some writing achieved. It’s no longer going as poorly as it did for Jack Torrance of “The Shining,” in any other labyrinthine faraway. But the going is sluggish, her sleep is disturbed via banging shutters and some of the reflections the ride activates in Rosaline aren’t as heat as Julie predicted. It changed into right here, she says, she found out her brother died inside the struggle. Julie, embarrassed that their ride has dredged up her mom’s ache, profusely apologizes.Their goings-approximately are constrained in the main to tea in bed, analyzing and a nightly dinner. But there are echoes anywhere of something tough to comprehend. The unspoken is as thick because the fog. Rosaline consists of along with her a bag of “matters to undergo,” a touch of a few unfinished paintings. Occasionally, the unsettled tension breaks. After no sight of any inn employee beside the front-table manager, Julie encounters a kindly man at night (played sweetly through Joseph Mydell) who’s greater welcoming. He stocks reminiscences of his overdue wife, who used to paintings there, too. The past, initially reluctant to return forth, grows extra present.“That’s what rooms do,” Rosaline says. “They keep those tales.”

That, too, become part of the belief in “The Souvenir,” which recreated Hogg’s vintage condominium in great detail. Like the ones films, “The Eternal Daughter” is reflexive in its construction — a memory piece about remembering. It’s also a threat to wonder, once more, at Swinton’s ability for inhabiting one, or greater, roles. So a great deal does she occupy each person that you have to remind your self that’s she gambling each. If some thing, I wished their communicate together plunged deeper than it does — that the movie became additionally about her recollections, not simply the recalling of them. Still, the yawning gulf among mother and daughter, beyond and present, is a part of the movie’s seductive nocturnal sit back. It’s a fog lifted, finally, through the warming conviction that looking to bridge the space is worth the war.