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Sometimes Hogg's work is self-referential, and you see the same symbols showing up. She is drawn to mirrors, doorways, halls, and figures moving in and out of the frame. These are "tics" but they come from an authentic place. There's something, too, about how our influences aren't separate from us: they are embedded in our psyches, and sometimes it's hard to tell where the influence starts and ends. Hogg's love of "old" movies, classic Hollywood, musicals, noirs, and Technicolor extravaganzas, is not immediately apparent in her first films, where the camera remains mostly static, where the style is controlled and deliberate. But if you go back to her first film, the short "Caprice" (starring a young Tilda Swinton), where a woman gets caught up (literally) in the pages of a women's magazine, falling down a rabbit hole of advertisements and allurements, complete with a fully-produced music video, you can see Hogg working with her own influences, pouring them through her own sensibility. It's why her work is fun. 2b1af7f3a8