In the Julie Harte movies, the methods Hogg uses to make sense of her mother’s life are first exercised in the film-within-a-film in Part II, where Julie materializes in a hall of mirrors, by a misty river, and has to walk, like Carroll’s Alice, through an undersized door. The film is dreamily disjointed and obvious, filled with symbols of romantic intimidation, of the end of adolescence, of ambition. It has a kinship with the terrible brightness and emphatic, externalized rendering of the ballerina’s inner journey in The Red Shoes. The allusion reaches back both to Anthony telling Julie, in the first film, that he likes Powell and Pressburger (“I think they’re very truthful,” he says, “without necessarily being real”), and to the urgent journey of that film’s protagonist, an aspiring ballerina who is told by her impressive but dour mentor, “You cannot have it both ways. The dancer who relies on the doubtful comforts of human love will never be a great dancer.”