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She throws him out, and Anthony moves out too.
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He later takes her to the gallery where the painting is hung. Anthony goes missing, but is later found, having overdosed in a public toilet, dead. Yet the message is nothing so simplistic as just the need to get over her own well-heeled background. Julie and Anthony take a vacation to Venice. But then these friends head off on their travels, leaving her alone in the flat. Positions of disapproval are not taken. Eventually, Julie is to be shown working on a different, more Jarmanesque-looking project, in a more rough-and-ready collaboration with other students. Closeups are rare. Anthony later admits to doing it, but didn't want to tell her to keep her from feeling bad. As with other Hogg films, there is an austere, unemphasised plainness.Julie invites him back in with her, but he soon starts using again. They visit his parents at home, while Julie's mother, Rosalind, puts them in separate bedrooms. She returns home one evening, and finds a strange man in her apartment.
They meet again, and Anthony is clean. Anthony goes missing, but is later found, having overdosed in a public toilet, dead.
She lives in a flat with another student and his girlfriend. Julie says the girl looks sad, while Anthony says she looks determined. She meets Anthony, a well-to-do-man who works at the Foreign Office, who moves in with her after her roommate moves out.
And this underlines the weirdness of what unfolds, which has the weightlessness of a dream, a style which reaches its high point when Julie is alone in the flat and it is briefly shaken, to the sound of a detonation — the sound, in fact, of the IRA Harrods bombing.
It is at this stage that the vampirish figure of Anthony makes his appearance: a supercilious, opinionated young man with a chalkstripe suit and a junior position at the Foreign Office.
Julie starts noticing when Anthony is on heroin, and she attends a self-help group. Anthony has to travel to Paris, but returns with some lingerie, which he asks Julie to put on.