SWEETIE (Jane Campion, 1989)

Over the last two decades, Australia’s New Zealand-born Jane Campion has been making the world’s most passionate films—with this caveat: they exude an inverted passion, a stark repressiveness. I am troubled by what is generally considered her masterpiece, the Charlotte Brontë-esque The Piano (1993), for which Campion won both the Palme d’Or at Cannes and […]