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Cate Blanchett “never, ever” thought she “could work in the film industry".The Oscar-winning actress admitted she thought her future lay on the stage and she never expected to break into Hollywood.Speaking at the Rotterdam Film Festival, she said: "I was resigned, happily, to a career in theater. I didn’t think I was that girl. There was a sense women had a certain ‘shelf life’ in the film industry and a certain type of women got to parade on the screen and others didn’t."And, she urged people not to worry about always being original.She said: "We are told you have to find your own voice. I would say: Steal from anyone. It’s an homage and a way of connecting through recognition. You are in dialogue with that filmmaker, actor or cinematographer. And that reference, filtered through your own experience, will be unrecognizable. This obsession...

Cate Blanchett “never, ever” thought she “could work in the film industry.”

“I was resigned, happily, to a career in theater. I didn’t think I was that girl. There was a sense women had a certain ‘shelf life’ in the film industry and a certain type of women got to parade on the screen and others didn’t,” she said at the Rotterdam Film Festival Saturday.

Watching Visconti’s “The Stranger” awakened her love for the cinema.

“Our French teacher took us to see it. I learnt more about cinema than I did about French. I don’t think I’ve seen it since, but I was hypnotized by the cinematic storytelling. Also, we grew up in such an incredible moment in Australian cinema-making. I remember watching ‘Picnic at Hanging Rock,’ ‘Sweetie,’ ‘An Angel at My Table.’ I thought: ‘Maybe I will be able to step into that frame...

NYC Weekend Watch is our weekly round-up of repertory offerings.

Film at Lincoln Center

An essential series of Jacques Rozier restorations begins.

Roxy Cinema

Fidelio, our four-film program with Chapo Trap House’s Movie Mindset, has an encore with Eyes Wide Shut on a spectacular 35mm print this Friday and Saturday, the latter day also bringing The Ghost Writer on 35mm; Nathan Silver presents Crossing Delancey on 35mm and Mike Leigh’s Meantime; “City Dudes” returns on Saturday.

Bam

Films by Spike Lee, Chantal Akerman, Lucrecia Martel, and more play in “Sweat!“; recent restorations are given a showcase, including a special premiere of The Spook Who Sat By the Door.

Museum of the Moving Image

70mm prints of 2001, Tenet, and Far and Away screen.

Film Forum

A Blaxploitation series, featuring classics and discoveries alike, begins; Army of Shadows continues.

Anthology Film Archives

Buñuel and Dalí play in “Essential Cinema.”

Museum of Modern Art...

Jane Campion, director of “The Power of the Dog,” is the recipient of this year’s Pardo d’Onore Manor at the Locarno Film Festival — its award for outstanding achievement in cinema. So yes, the “Dog” director is getting a cat trophy: Pardo d’Onore translates to “Leopard of Honor” in English.

The award will be bestowed on August 16, 2024 at the 77th edition of the festival. Locarno will also feature screenings of two Campion movies as selected by the director herself: 1990’s “An Angel at My Table” and 1993’s “The Piano.” It will be a brand new 4K restoration of “The Piano” that audience in Switzerland sees.

It’s quite an honor, but certainly not Campion’s first big award. She was the first woman to win the Palme d’Or at the Cannes Film Festival (for “The Piano”). Campion is also the first woman to be nominated twice for...

Jane Campion will be honored this year by the Locarno Film Festival, which will present the New Zealand director its Pardo d’Onore Manor Award for lifetime achievement.

Campion will receive the tribute at the 77th edition of the Swiss festival on Friday, Aug. 16.

Locarno will also screen two of Campion’s best-known films selected by the director herself for the tribute: Her 1990 feature An Angel at My Table and her 1993 Palme d’Or winning global breakout The Piano. The latter will be given a grand screening in a new 4K restoration at Locarno’s legendary Piazza Grande on the night of her award. Campion will also take part in a panel conversation at the festival on Saturday, August 17.

The Locarno Film Festival’s Pardo d’Onore Manor honor has previously been awarded to such filmmakers as Agnès Varda, Bernardo Bertolucci, Ken Loach, Jean-Luc Godard, Werner Herzog, Kelly Reichardt, and,...

Jane Campion will be heading to Switzerland this summer to receive an honorary award at the 77th edition of the Locarno Film Festival, running from August 7 to 17.

The director will be presented with the festival’s Pardo d’Onore Manor Award for outstanding achievement in cinema in a ceremony at its landmark Piazza Grande open-air venue on August 16.

As part of the honorary celebrations, two Campion features will be screened at the festival: An Angel at My Table (1990) and The Piano (1993). The latter is presented in a new 4K restoration that will make its debut on the Piazza Grande. Campion will also host an onstage Q&a at the Forum @ Spazio Cinema on August 17.

“With her directorial debut, Sweetie (1989), Jane Campion asserted herself from the start as a distinctive and unmistakable voice,” Giona A. Nazzaro, Locarno Artistic Director said this morning announcing the honor.

“More than thirty years later, the...

Many films – even classics such as Eraserhead and Chungking Express – remain surprisingly unavailable online to UK audiences. We asked film-makers from Martin McDonagh to Charlotte Wells to pick their favourites

In theory, there has never been a better time to be a movie fan. The ubiquity of streaming platforms means that films are more accessible than ever before. One click, and we can be transported to any country, genre or period. Or at least, that’s the idea. In practice, it’s not quite as simple as all that. Despite the wide choice of mainstream modern titles offered by big hitters such as Netflix, Disney+ and Prime Video; and the sterling work done by bespoke platforms such as Mubi, Curzon, BFI Player and regional specialist Klassiki, numerous films remain unavailable to be streamed by UK audiences (legally at least). And we’re not just talking about obscure arthouse titles: a...

Jane Campion will be honored with Next Generation Indie Film’s 2023 Luminary Award. The director will accept the award at the third annual gala, which will take place on Oct. 29 at the Loews Hollywood Hotel in Los Angeles.

Next Generation Indie Film Awards is a non-profit organization for independent authors and publishers. It bestows the Luminary Award on a “transformative figure in the industry, an artist whose work and journey are a North Star to the filmmaking community, especially at a time when art and inspiration are much-needed.” Rian Jonhson was the inaugural recipient of the Luminary Award in 2022.

Campion’s most recent film, 2021’s “The Power of the Dog,” a searing Western drama about a hardened rancher (Benedict Cumberbatch) who torments his brother’s wife (Kirsten Dunst) and her son (Kodi Smit-McPhee), was regarded as one of the best of the year and received 12 Oscar nominations. Campion won the Academy Award for best director,...

In 2022, Jane Campion made history as the first female director to be nominated for Best Director twice. And then, for “The Power of Dog,” she followed through and won, becoming the third female director to take home the top prize.

The win was a triumphant and long overdue achievement for Campion, who has consistently been one of the best directors actively working since her 1989 feature debut “Sweetie.” The black comedy about a dysfunctional family marked the New Zealand-born director as a great talent immediately, entering the Cannes Film Festival and taking home an Independent Spirit Award for Best Foreign Film shortly afterwards. Just a year later, Campion released her first masterpiece: the Janet Frame biopic, “An Angel at My Table.”

From there, her 1993 feature “The Piano” netted Campion her first Best Director nomination, while efforts like “The Portrait of a Lady,” “Holy Smoke,” “In the Cut,” and “Bright Star” received acclaim.

It took them until Justified: City Primeval Season 1 Episode 4, but we finally got what is -- in my estimation -- a classic Elmore Leonard-esque criminal philosophy expounded with conviction and eloquence.

Toma Costia, Mags Bennett says howdy-doo, and please give Raylan a run for his guns.

With the Albanian mob making things complicated, does anyone else feel like Raylan's just about done being all calm and collected and by the book?

To be fair, he still hasn't shot anyone. And that's really the best measure of how far he's come since his stint in Harlan County.

When Agron takes off on Bryl -- more thoughts on our dear Norbert later -- Raylan's restraint when Besnik's instincts are to back up his buddy is laudable. Pre-parenthood, Raylan would've at least shot him in the leg to make sure he stayed put.

Taking a moment to admire Yuna's spunk.

Sydney, June 11 (Ians) These days Jane Campion — Palme d’Or and Oscar-winning film director — is celebrated for a vein of heartfelt cinema that is aching and quirky, rather than gushing, writes ‘Variety’.

She’s also an intelligent and determined female pioneer who has had to struggle for her present standing in a male-dominated industry.

The Sydney Film Festival this week is showcasing and contextualising Campion’s body of work, ‘Variety’ reports. Its screening programme includes all nine of her feature films, from “Two Friends” to “The Power of the Dog”, and a selection of her shorts.

“For our 70th edition, we wanted to present a retrospective commensurate with the milestone, reflecting the audacious and boundary pushing filmmaking synonymous with our festival and region. There was no one more appropriate than Jane Campion,” said Sff Director Nashen Moodley in notes ahead of the event.

India, incidentally, is being represented at the Festival,...

These days Jane Campion – Palme d’Or and Oscar-winning film director – is celebrated for a vein of heartfelt cinema that is aching and quirky, rather than gushing. She’s also an intelligent and determined female pioneer who has had to struggle for her present standing in a male-dominated industry.

The Sydney Film Festival this week is showcasing and contextualizing her body of work. Its screening program includes all nine of her feature works, from “Two Friends” to “The Power of the Dog,” and a selection of her short films.

“For our 70th edition, we wanted to present a retrospective commensurate with the milestone, reflecting the audacious and boundary pushing filmmaking synonymous with our festival and region. There was no one more appropriate than Jane Campion,” said Sff director Nashen Moodley in notes ahead of the event.

On Saturday, the festival screened Julie Bertucelli’s 2022 documentary “Jane Campion, the Cinema Woman...

This weekend, Netflix is welcoming a thriller TV series, a buddy comedy movie, and an Italian comedy movie. Last weekend, the streaming giant added more licensed content to its catalog with the first seasons of the Japanese TV series Miu404 and Quartet, the thriller movie The Devil To Play, the documentary The Pez Outlaw, season 1 of the Korean TV series Awaken, the Turkish documentary Sweetie, season 28 of The Real World, and season 2 of the anime series Demon Slayer, but when it came to original content, it didn’t see much content, with the sitcom That ‘90s Show, the French historical drama TV series Women at War, and the French comedy TV series Represent.

This weekend, Netflix will see less licensed content, but there will still be a variety of titles to explore, with the arrival of the animated movie Minions: The Rise of Gru, the Indian documentary Black Sunshine Baby!

Jane Campion has always been a film artist who’s gone her own way. With a background in art, Campion soon came to realize that she could better express herself through the medium of film and created a series of short films, one of which, “Peel,” won the Short Film Palme d’Or at the 1986 Cannes Film Festival. In 1989, she segued into feature film direction with “Sweetie,” the first of eight features that she would direct over the next 32 years. Scroll down to see all eight Jane Campion movies ranked from worst to best.

She explored female sexuality in “In the Cut,” “Holy Smoke!,” “Portrait of a Lady” and, most famously in “The Piano,” where Holly Hunter’s character Ada consents to an erotic affair with a frontiersman (Harvey Keitel) which allows her to fulfill her long-repressed sexual desires. (That’s also a theme of Campion’s acclaimed 2013 TV miniseries “Top of the Lake.

It’s a fitting end for an extended awards season that so often saw “The Power of the Dog” director Jane Campion running off with award after award: The Kiwi filmmaker has won the Oscar for Best Director for her work on the lauded Western drama. The award makes Campion only the third woman to pick up the accolade; she follows Chloé Zhao’s win last year for her “Nomadland” and the first female winner, Kathryn Bigelow, who won for 2009’s “The Hurt Locker.” During an emotional speech, she thanked her cast, crew, family, and Netflix, along with the Academy for “the lifetime honor.”

Campion faced off against Kenneth Branagh, Ryuske Hamaguchi, Paul Thomas Anderson, and Steven Spielberg in the stacked category. Campion and Spielberg were previously nominated together in the category back in 1991.

The filmmaker has long been viewed as the frontrunner in this category, and was also nominated...

From the moment it premiered at the Venice Film Festival last September, Jane Campion’s “The Power of the Dog” has been a divisive film. Yet the divisiveness has had an element of being foggy and vague, hard to get a fix on. In part, that’s because those who command the media megaphone, and are loudest in the debate, have mostly showered the movie with acclaim. “The Power of the Dog” received countless rave reviews and, along with “Drive My Car,” it dominated 10 Best lists and year-end critics groups’ awards. It is one of the most celebrated films of the year, and that perception is reflected in the fact that it received 12 Oscar nominations — and that many prognosticators, at least until recently, thought it would win.

Yet from the moment it premiered on Netflix (and in a small number of theaters) on Nov. 17, I think it’s no exaggeration...

Jane Campion has always been a film artist who’s gone her own way. With a background in art, Campion soon came to realize that she could better express herself through the medium of film and created a series of short films, one of which, “Peel,” won the Short Film Palme d’Or at the 1986 Cannes Film Festival. In 1989, she segued into feature film direction with “Sweetie,” the first of eight features that she would direct over the next 32 years. Scroll through our gallery above (or click here for direct access) to see all eight Jane Campion movies ranked from worst to best.

See Who is Performing at the Oscars 2022?: Full List of Presenters and Performers

She explored female sexuality in “In the Cut,” “Holy Smoke!,” “Portrait of a Lady” and, most famously in “The Piano,” where Holly Hunter‘s character Ada consents to an erotic affair with a...

The Notebook Primer introduces readers to some of the most important figures, films, genres, and movements in film history.The Power of the DogThe New Zealand-born, Australia-based writer-director Jane Campion is one of several female filmmakers to be celebrated as having been the first of something, that consolation prize of the historically marginalized. She was the first woman to win the Palme d’Or. She wasn’t the first woman to be nominated for the Academy Award for Best Director, but was the second—though with The Power of the Dog she recently became the first woman ever to be nominated twice in that category, a feat befitting the film, the filmmaker, and the people for whom this accomplishment is a balefire of hope.“I would love to see more women directors because they represent half of the population,” Campion has said, “and gave birth to the whole world. Without them writing and being directors,...

Director Martin Scorsese appeared at the annual New York Film Critics Circle dinner in Manhattan on Wednesday night to honor Jane Campion, who was announced in December as the winner of the group’s Best Director award.

Campion, the Oscar frontrunner for her enigmatic drama “The Power of the Dog,” was twice choked up by emotion during her speech before the members of the 86-year-old critics organization.

Scorsese’s remarks, which can be seen in their entirety in the video above, took the form of a perceptive, film-class analysis of Campion’s choices behind the camera. He blended his unique professorial style with his characteristic enthusiasm and a heartfelt expression of respect for his filmmaking peer. Watch the speech in full below.

“It’s a precious thing to have an artistic voice as powerful as Jane’s, developing over time,” Scorsese said. “It’s like a great ongoing conversation and...

Jane Campion fought through tears last night accepting the Best Director award for The Power Of The Dog at the New York Film Critics Circle ceremony last night after a moving intro from Martin Scorsese.

He first met Campion in 1990 at the Venice premiere An Angel At My Table “and my admiration has only increased over the years. I wish she would make more pictures, but every one that you do get to make really counts,” he said. “It’s a precious thing to have an artistic voice as powerful as Jane’s developing over time.”

Scorsese is currently editing his own western crime drama, upcoming Killers of the Flower Moon. He said Campion’s The Power of the Dog, based on a 1967 novel written by Thomas Savage, turned the genre inside out. “What is strength and who is the strongest?” In Campion’s film, ‘there is a battle, right,...

Stars: Daniyar Alshinov, Asel Kaliyeva, Azamat Marklenov, Yerlan Prynsetov, Alamat Sakatov, Rustem Zhaniyamanov, Yerkebulan Daiyrov, Dulgya Akmolda | Written by Yernar Nurgaliyev, Daniyar Soltanbayev, Ilyas Toleu, Anuar Turizhigitov, Alisher Utev, Aybasov Zhandos | Directed by Yernar Nurgaliyev

We’ve reviewed films from all over the world, Estonia, Tunisia, Norway, Cambodia, even Mongolia. I’m fairly sure though that Sweetie, You Won’t Believe It is the first film from Kazakhstan that we’ve reviewed. How does this bloody black comedy from a country better known for producing Mma fighters than movies fare?

Dastan (Daniyar Alshinov) is stressed out by the thought that he’ll soon be a father. He’s even more stressed out by his wife Zhanna (Asel Kaliyeva) constantly nagging and screaming at him. So he decides that a weekend spent fishing with his buddies Arman (Azamat Marklenov) and Muram (Yerlan Prynsetov) is just what he needs. The fact none of...

“A high-spirited juggernaut of nasty fun”–The Hollywood News

After a warm reception from audiences and critics in the festival circuit, 101 Films announces the North American release of Sweetie, You Won’T Believe It. Lauded as “gory and gleeful”, “a pure burst of energetic fun” and a film that “makes ‘The Hangover’ look boring,” Sweetie will be available on Digital and VOD on February 8th. – Here’s the trailer:

hat begins as a fishing trip with the boys quickly spirals out of control when they witness a mob hit in the forest, and that’s just the beginning of this insane, violent, hilarious misadventure from Kazakhstan.

It begins with a couple quarreling about baby names, and it ends in gory revenge and slapstick splatter in a seemingly indestructible, one-eyed psychopath’s cabin in the woods. In between was supposed to be a calming fishing trip for three old friends to unwind in the wilds.

Exclusive: Jane Campion will have some new hardware on her mantel come March. The Power of the Dog writer-director and Oscar-winning The Piano scribe is set to receive the Art Directors Guild’s 2022 Cinematic Imagery Award.

She will be honored at the 26th annual Adg Awards on March 5 at the InterContinental Los Angeles Downtown. Nominations will be announced January 24.

“Long a filmmaker’s filmmaker, Jane Campion’s exacting use of design and style to fully realize her storytelling have made a significant contribution to the visual language of film, while authoring and fostering the genesis of environments that extend the audience experience far beyond the page“We are thrilled to fete acclaimed director Jane Campion among our celebrated filmmakers this year,” said Adg President Nelson Coates, who made today’s announcement with Adg Awards Producer Michael Allen Glover. “Her ability to tell stories and capture moments that marry the interior...

Editor’s Note: The following story contains spoilers for “The Power of the Dog.”

Jane Campion is enjoying this moment. After winning the Silver Lion for directing at Venice for “The Power of the Dog,” her triumphant return to feature films after 13 years, and soaking up the New York Film Festival applause at Alice Tully Hall, the director settles into a soft sofa at Netflix’s after-party at Tavern on the Green. She had taken a detour from moviemaking to create eight episodes of Sundance TV’s lauded series “Top of the Lake” (2013-2017), which starred Elisabeth Moss and Holly Hunter, back home in New Zealand. Campion smiles as she tells me about the fun she’s having creating marketing materials for “The Power of the Dog” with Netflix, which won the hardboiled 1920s western in a bidding war at Cannes 2019, before production began in January 2020 in remote Central Otago,...

Editor’s Note: The following story contains spoilers for “The Power of the Dog.”

Jane Campion is enjoying this moment. After winning the Silver Lion for directing at Venice for “The Power of the Dog,” her triumphant return to feature films after 13 years, and soaking up the New York Film Festival applause at Alice Tully Hall, the director settles into a soft sofa at Netflix’s after-party at Tavern on the Green. She had taken a detour from moviemaking to create eight episodes of Sundance TV’s lauded series “Top of the Lake” (2013-2017), which starred Elisabeth Moss and Holly Hunter, back home in New Zealand. Campion smiles as she tells me about the fun she’s having creating marketing materials for “The Power of the Dog” with Netflix, which won the hardboiled 1920s western in a bidding war at Cannes 2019, before production began in January 2020 in remote Central Otago,...

Over the past decade, one that has found Benedict Cumberbatch catapulting from global stardom as Sherlock Holmes to Doctor Strange, his personal edict has changed.

“It used to be just about challenging expectations and trying to do something unconventional to keep myself fresh, because of the amount of exposure I’ve had,” he said in a recent interview with IndieWire. “I didn’t want to keep turning up as fast-talking posh English people. That used to be the main driver. But now it’s much more about the people I get to work with.”

One of those people is Jane Campion, the director of “The Power of the Dog.” In the role of hardened Montana rancher owner Phil Burbank, who bullies the young wife (Kirsten Dunst) of his soft-spoken brother (Jesse Plemons), Cumberbatch channels the clash of outward nastiness and emotional fragility that Campion has probed ever since her 1989 debut “Sweetie,...

Incompetent goodfellas hunting down amateur hour homeboys. A fishing hook cast through the earlobe of an unsuspecting layman. A floatie made entirely of blow-up dolls. Unbridled bridesmaids snatching husbands up off the streets. Small town suspicious types boasting butcher knives. One-eyed maniacs slashing their way through sanctioned buffoonery. Explosions. Eviscerations. Beheadings. Ball-busting. Horse-bucking. Juice cartons slowly stroked a little too enthusiastically. This is "Sweetie, You Won't Believe It," and nothing can prepare you for its chaotic energy.

Set on the day that his pregnant wife is scheduled to give birth, "Sweetie" follows Dastan (Daniar Alshinov), a financially struggling...

The post Sweetie, You Won't Believe It Review: An Uproarious and Chaotic Slapstick Caper [Telluride Horror Show 2021] appeared first on /Film.

Exclusive: Jane Campion, whose latest film The Power of the Dog for Netflix has been playing the fall festival circuit to critical acclaim, has been selected to receive the Director’s Tribute at this year’s Gotham Awards ceremony, which will take place live November 29 at Cipriani Wall Street in New York.

Campion was the first female director to win the Cannes Film Festival Palme d’Or, for her lauded 1993 film The Piano, and one of only seven women to be nominated for the Best Director Oscar. The Piano also received over 30 international awards along with nine Academy Award nominations and three wins including for Best Screenplay for Campion. Most recently, Campion was awarded the Silver Lion for directing at the Venice Film Festival for Power of the Dog, which is her first theatrical feature in over a decade and which stars Benedict Cumberbatch, Kirsten Dunst, Jesse Plemons and Kodi-Smit McPhee.

The red desert and horses draw from a familiar playbook, but almost everything else in Jane Campion’s “The Power of the Dog” upends expectations. The writer-director’s triumphant first feature in 12 years transforms Thomas Savage’s novel into a riveting and immersive study of Western motifs, along with the boundaries that have limited it for generations. She’s on brand and on schedule: Campion is the kind of visionary auteur who deserves to work at her own pace, and “The Power of the Dog” arrives as the Western faces fresh scrutiny through a slew of new works.

Returning to the sexual inquisitiveness of “The Piano” and “Sweetie,” the New Zealand filmmaker uses the ambiguous dynamic between her characters to build a tapestry rich with thematic implications (read Anne Thompson’s interview with the director here). Though ranch owner Phil (Benedict Cumberbatch) initially bullies the openly gay Peter (Kodi Smit-McPhee...

Every year, the Telluride and Venice film festivals overlap and on Saturday, two top titles built anticipation in Venice before making their way to the American Rockies. Pablo Larraín’s “Spencer” (Neon) and Jane Campion’s “The Power of the Dog” (Netflix) played to packed crowds — and delivered on their promise. Their Oscar fates will play out against intense competition over the next few months, but one thing is certain: Benedict Cumberbatch’s surly cattle rancher in “The Power of the Dog” and Kristen Stewart’s caged Princess Diana in “Spencer” will be in the running for their first Oscar wins.

Cumberbatch, who will receive his own tribute award at the upcoming Toronto Film Festival, presented the Telluride silver medallion to Campion. She watched a sizzle reel of her movies, from “Sweetie” through her Oscar-winning “The Piano” and “The Portrait of a Lady” to the more recent “Top of the Lake...

Every year, the Telluride and Venice film festivals overlap and on Saturday, two top titles built anticipation in Venice before making their way to the American Rockies. Pablo Larraín’s “Spencer” (Neon) and Jane Campion’s “The Power of the Dog” (Netflix) played to packed crowds — and delivered on their promise. Their Oscar fates will play out against intense competition over the next few months, but one thing is certain: Benedict Cumberbatch’s surly cattle rancher in “The Power of the Dog” and Kristen Stewart’s caged Princess Diana in “Spencer” will be in the running for their first Oscar wins.

Cumberbatch, who will receive his own tribute award at the upcoming Toronto Film Festival, presented the Telluride silver medallion to Campion. She watched a sizzle reel of her movies, from “Sweetie” through her Oscar-winning “The Piano” and “The Portrait of a Lady” to the more recent “Top of the Lake...

Jane Campion has kept busy enough in the 12 years since her last feature-length film, but her ice-blooded “The Power of the Dog” leaves the distinct impression that she spent every minute of that time sitting in a dark room and sharpening the same knife. Now, the “In the Cut” auteur returns with a brilliant, murderous fable about masculine strength that’s so diamond-toothed its victims are already half dead by the time they see the first drop of their own blood.

The shiv-like stealthiness of Campion’s approach may stem from the 1967 Thomas Savage novel on which “The Power of the Dog” is based, but it perfectly suits a filmmaker who’s long been fascinated by how weakness can be force’s most effective sheath. From “Sweetie” and “An Angel at My Table” to “Bright Star” and “Top of the Lake,” nearly all of Campion’s work is pitched along...

Phantom Of The Mall will enjoy a special screening in the September line-up

The Arrow Video FrightFest 2021 team today revealed the line-up for their online edition, which will take place from 1 to 5 September, two days after the London-based main event. It includes an extensive selection of highlights like Night Drive, Ultrasound and Sweetie, You Won't Believe It, along with a few extras, such as the first chance to see Chad Crawford Kinkle's Dementer in the UK.

The five day long event will also include an early chance to see some highly anticipated trailers, and perhaps a preview or two. The teams behind some of the films will be online to talk about their work and take questions from viewers.

"FrightFest will always see the collective theatrical viewing experience as central to our mission," said festival director Alan Jones. "Nothing can replace the anticipatory buzz waiting for the house lights...

Stars: Daniyar Alshinov, Asel Kaliyeva, Azamat Marklenov, Yerlan Prynsetov, Alamat Sakatov, Rustem Zhaniyamanov, Yerkebulan Daiyrov, Dulgya Akmolda | Written by Yernar Nurgaliyev, Daniyar Soltanbayev, Ilyas Toleu, Anuar Turizhigitov, Alisher Utev, Aybasov Zhandos | Directed by Yernar Nurgaliyev

We’ve reviewed films from all over the world, Estonia, Tunisia, Norway, Cambodia, even Mongolia. I’m fairly sure though that Sweetie, You Won’t Believe It is the first film from Kazakhstan that we’ve reviewed. How does this bloody black comedy from a country better known for producing Mma fighters than movies fare?

Dastan (Daniyar Alshinov) is stressed out by the thought that he’ll soon be a father. He’s even more stressed out by his wife Zhanna (Asel Kaliyeva) constantly nagging and screaming at him. So he decides that a weekend spent fishing with his buddies Arman (Azamat Marklenov) and Muram (Yerlan Prynsetov) is just what he needs. The fact none of...

The 2021 New York Film Festival lineup is coming into focus, with Jane Campion’s “The Power of the Dog” announced as the Centerpiece screening for the 59th edition hosted by Film at Lincoln Center. Ahead of its Netflix debut, the drama will make its New York premiere at Alice Tully Hall on October 1. Prior to the New York Film Festival, “Power of the Dog” is set to premiere in competition at Venice.

The cast features Kirsten Dunst, Jesse Plemons, Benedict Cumberbatch, Kodi Smit-McPhee, Thomasin McKenzie, Frances Conroy, and Keith Carradine. Here’s the synopsis shared by the festival:

Campion reaffirms her status as one of the world’s greatest — and most gratifyingly eccentric — filmmakers with this mesmerizing, psychologically rich variation on the American western. Adapted from a 1967 cult novel by Thomas Savage that was notoriously ahead of its time in depicting repressed sexuality, “The Power of the Dog” excavates the...

Jane Campion’s “The Power of the Dog” has been tapped as the centerpiece selection for the 59th New York Film Festival.

The film stars Kirsten Dunst, Jesse Plemons, and Benedict Cumberbatch and will be released by Netflix. The streamer has awards ambitions for the Western, a historical drama that unfolds on a Montana cattle ranch in the 1920s. It was recently selected to screen at this year’s Venice Film Festival.

“The Power of the Dog” will have its New York premiere at Alice Tully Hall on Oct. 1. Last week, Film at Lincoln Center, the group behind the annual celebration of moviemaking, announced that this year’s festival will take place in-person. The 2020 edition was a digital affair due to Covid-19. Film at Lincoln Center also announced that Joel Coen’s “The Tragedy of Macbeth,” a black-and-white adaptation of William Shakespeare’s play, has been selected as the festival’s opening night film.

Jane Campion’s “The Power of the Dog,” starring Benedict Cumberbatch and Kirsten Dunst, has been set as the centerpiece film at the 59th New York Film Festival.

“The Power of the Dog” is a Western set for release through Netflix that stars Cumberbatch, Dunst, Jesse Plemons and Kodi Smit-McPhee. It will make its New York premiere at the Alice Tully Hall on Oct. 1, and was recently added to the Venice Film Festival lineup.

Campion’s film is adapted from a 1967 cult novel by Thomas Savage that was considered ahead of its time in depicting repressed sexuality. “The Power of the Dog” is set at a Montana cattle ranch in the 1920s following a young widow (Dunst) and her new husband (Plemons). Their lives are increasingly complicated by the erratic, potentially violent behavior of his sullen and bullying brother (Cumberbatch), whose mistrust of both Dunst’s character and her misfit...

Netflix western stars Benedict Cumberbatch, Jesse Plemons, Kirsten Dunst.

Jane Campion’s The Power Of The Dog has been named as the 59th New York Film Festival’s (NYFF) Centerpiece selection.

Campion’s psychological take on the western genre marks a return to the awards festival circuit for Netflix after the streamer did not ask its filmmakers to travel in support of its awards contenders last season.

Adapted from the 1967 novel by Thomas Savage, The Power Of The Dog takes place on a Montana cattle ranch in the 1920s where the arrival of a young widow and her son at...

Netflix western stars Benedict Cumberbatch, Jesse Plemons, Kirsten Dunst.

Jane Campion’s The Power Of The Dog has been named as the 59th New York Film Festival’s (NYFF) Centerpiece selection.

Campion’s psychological take on the western genre marks a return to the awards festival circuit for Netflix after the streamer did not ask its filmmakers to travel in support of its awards contenders last season.

Adapted from the 1967 novel by Thomas Savage, The Power Of The Dog takes place on a Montana cattle ranch in the 1920s where the arrival of a young widow and her son at...

128 titles will screen the festival’s new Harbour section as well as Bright Future, Cinema Regained and the short and mid-length film sidebars.

The International Film Festival Rotterdam has unveiled the line-up for its special one-off summer event that is due to take place from June 2-6 as part of the festival’s 50th edition celebrations.

The five-day programme follows the first part in early February which took place online after a physical edition was ruled out due to the Covid-19 pandemic. It presented 60 films across IFFR’s Tiger Competition, Big Screen Competition, Ammodo Tiger Shorts and Limelight sections.

This second part will showcase 139 feature,...

Mona Fastvold’s “The World to Come,” starring Katherine Waterston and Vanessa Kirby, will open the hybrid summer component – running June 2-6 – of the International Film Festival Rotterdam’s 50th edition. Hirota Yusuke’s animated feature “Poupelle of Chimney Town” will close the event.

“The World to Come” is a romantic drama about the forbidden love between two women, played by Waterston and Kirby, in 1850s Upstate New York. The film will be shown as a timed premiere online on June 2, followed by physical screenings in Rotterdam theaters during the festival.

The European premiere of “Poupelle of Chimney Town” is an adaptation of Nishino Akihiro’s children book. It is an imaginative family film with the climate crisis at its heart, produced by Studio 4°C, producers of “Children of the Sea,” which ran in Rotterdam last year. The film will be available on demand until June 9.

The first part of the festival,...

It’s not easy to sustain a beloved series over nine films and 43 years and many directors. But all the principally credited directors of the core “Star Wars” films, plus “Rogue One” and “Solo,” have been men.

Enthusiasm for the franchise seems to be waning slightly, and “Rise of Skywalker” became the first of the sequel trilogy not to rate an A CinemaScore from filmgoers. Though it’s unclear when we’ll see the next “Star Wars” feature film, there’s no doubt the saga could use a major shot of creative vision — so why not hire a woman the next time around?

Here are 15 directors — some obvious and some less so — who could put a distinct stamp on the series.

Jane Campion

The first female Palme d’Or winner, for “The Piano,” New Zealand-born Campion has been blazing a trail for women directors since her debut feature “Sweetie” blew...

‘The Cheaters’.

Critic David Stratton has curated a program of 10 “essential films” directed by Australian female filmmakers for the Sydney Film Festival and the National Film and Sound Archive (Nfsa).

Among them is 1930s silent melodrama The Cheaters, from Paulette McDonagh, digitally restored by the Nfsa, and which will screen with a score performed live by Jan Preston. There’s also Shirley Barrett’s Love Serenade, which won the Camera d’Or in 1996; Nadia Tass’ comedy Malcolm; Tracey Moffett’s Bedevil; Gillian Armstrong’s High Tide, Jackie McKimmie’s Waiting, and Jane Campion’s Sweetie.

Films from more recent years include Jennifer Kent’s The Babadook; Blessed from Ana Kokkinos, and Rachel Ward’s Beautiful Kate.

The films will screen as a retrospective program at the Art Gallery of New South Wales from June 5-10, as part of Sydney Film Festival which runs June 5-16. The retrospective will also screen...

Each month, the fine folks at FilmStruck and the Criterion Collection spend countless hours crafting their channels to highlight the many different types of films that they have in their streaming library. This December will feature an exciting assortment of films, as noted below.

To sign up for a free two-week trial here.

Monday, January 1

Anatomy of a Murder*: Edition #600

A virtuoso James Stewart plays a small-town Michigan lawyer who takes on a difficult case: the defense of a young army lieutenant (Ben Gazzara) accused of murdering a local tavern owner who he believes raped his wife (Lee Remick). Featuring an outstanding supporting cast-with a young George C. Scott as a fiery prosecutor and the legendary attorney Joseph N. Welch as the judge – and an influential score by Duke Ellington, this gripping envelope-pusher was groundbreaking for the frankness of its discussion of sex. But more than anything else, it...

When Greta Gerwig’s already-lauded “Lady Bird” hits limited release later this week, the actress-writer-director will join a long line of other female filmmakers who used their directorial debut (this one is Gerwig’s solo directorial debut, just for clarity’s sake) to not only launch their careers, but make a huge mark while doing it. Gerwig’s Saoirse Ronan-starring coming-of-age tale is an instant classic, and one that shouldn’t come as much of a surprise to anyone who has enjoyed Gerwig’s charming work as a screenwriter in recent years, bolstered by her ear for dialogue and her love of complicated and complex leading ladies.

While Hollywood still lags when it comes to offering up opportunities to its most talented female filmmakers, many of them have overcome the dismal stats to deliver compelling, interesting, and unique first features. In short, they’re good filmmakers who made good movies,...

What can we say about Jane Campion that we didn’t already say last week in lauding the venerable filmmaker’s feminist history? Simply put, the New Zealander is one of the greatest filmmakers in the world.

The first woman awarded the Palme d’Or at Cannes—for her Oscar-winning 1993 feature “The Piano”—and the second woman ever nominated for the Academy Award prize for Best Director, Campion’s indelible, revelatory career started in 1989 with her debut “Sweetie,” and it launched one of the most distinctive voices in cinema.

Continue reading Essentials: The Films Of Jane Campion at The Playlist.

Starting tomorrow, The Film Society of Lincoln Center will honor Jane Campion with a retrospective, “Jane Campion’s Own Stories,” including an evening with the filmmaker herself. This is just one more accolade in the Academy Award and Palme d’Or-winning filmmaker’s estimable career, as she has spent decades in the male-dominated world of cinema creating profound work by and about women. According to the press release from Fslc:

“Campion makes films that reflect a highly personal and idiosyncratic style, influenced by her background in anthropology and painting, and notable for their visual inventiveness, dark sense of humor, and complex depictions of women and sexuality.

Continue reading The Feminist History Of Jane Campion, From ‘Sweetie’ To ‘Top Of The Lake’ at The Playlist.

From Sweetie to The Piano, she has made some of cinema’s strangest, strongest films. So why has she switched to the small screen?

Jane Campion, one of the world’s great film directors, has had it with the movies. It is eight years since she last made a full-length feature (the Keats biopic Bright Star), and 14 years since her sexually explicit thriller In The Cut almost did for her career. Now she is having a Norma Desmond moment: she’s still big, it’s just the pictures that got small.

Movies, she says, have become conservative cash cows. “The really clever people used to do film. Now, the really clever people do television. I’d been feeling, in the film world, that if you come up with ideas, and you share them, the first concern is: how is the audience going to react?” Television has reinvigorated her. “Cinema in...

This is the latest installment of a series exploring significant films from the careers of directors showing new work at the 2017 Cannes Film Festival.

Jane Campion doesn’t put much stock in labels — seemingly preferring to adhere to the old Groucho Marx chestnut, “I don’t want to belong to any club that will accept people like me as a member” — and has spent her career pursuing work that speaks to her sensibilities. Ask Campion for her own views of feminism, and you’re likely to get an answer like the one she gave fellow filmmaker Katherine Dieckmann in a chat for Interview Magazine back in 1992, when she was still working on “The Piano” (then known as “The Piano Lesson”): “I don’t belong to any clubs, and I dislike club mentality of any kind, even feminism—although I do relate to the purpose and point of feminism.”

Clubs,...

Top of the Lake.

Shooting has begun in Sydney on the second season of Jane Campion's Top of the Lake, with Partisan's Ariel Kleiman stepping in as co-director in place of Lion's Garth Davis, who co-helmed season one.

The second series begins four years after the first, with Elisabeth Moss' Detective Robin Griffin now working in Sydney..

Joining Moss are Gwendoline Christie (Game of Thrones, Star Wars: The Force Awakens), Ewen Leslie (The Daughter), David Dencik (Tinker Tailor Soldier Spy, We Are The Best!) and Campion's daughter, Alice Englert, now a director in her own right.

Gerard Lee, of Sweetie and Top of the Lake season one, has again written the scripts with Campion, while it's unclear if DoP Adam Arkapaw, hot off Justin Kurzel's Assasin's Creed, will also return.

.I.m so excited to be back in Australia working with Jane on exploring this wonderful character", Moss said.