When French filmmaker Julia Ducournau took the Palme d’Or at Cannes this year for “Titane,” her wild explosion of body horror and gender politics, Jane Campion’s status in film history shifted slightly: no longer the only woman to take the top prize at the festival, the New Zealand writer-director will forevermore be the first. It’s a record that one suspects Campion — as a pioneer in bringing an explicitly feminist perspective to mainstream cinema — couldn’t have been happier to relinquish.
It’s 28 years since Campion’s “The Piano” shared the Palme d’Or, before going on to a level of international success denied most winners of that prize: it grossed $140 million worldwide and won three Oscars, including one for Campion’s original screenplay. Yet this commercial and industry success came at no cost or compromise to its creator’s vision. To re-watch it today is to be...
It’s 28 years since Campion’s “The Piano” shared the Palme d’Or, before going on to a level of international success denied most winners of that prize: it grossed $140 million worldwide and won three Oscars, including one for Campion’s original screenplay. Yet this commercial and industry success came at no cost or compromise to its creator’s vision. To re-watch it today is to be...
- 10/12/2021
- by Guy Lodge
- Variety Film + TV
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