Though she went on to create a string of brilliant films, Jane Campion will always be remembered for her stunning debut feature, Sweetie, which focuses on the hazardous relationship between the buttoned-down, superstitious Kay and her rampaging, devil-may-care sister, "Sweetie"—and by extension, their entire family’s profoundly rotten roots. A feast of colorful photography and captivating, idiosyncratic characters, Sweetie heralded the emergence of this gifted director as well as the breakthrough of Australian cinema, which would take international film by storm in the nineties. —The Criterion Collection
Rising to prominence in the 1990s, New Zealand director Jane Campion is known as one of the contemporary cinema’s most distinctive personalities. Her feature films, though varied in quality, have been united by their compelling depictions of the lives of women who are in some way outside of society’s mainstream. Campion’s films explore what makes these women different, and the repercussions of their refusal, or inability, to conform. Thanks to this subject matter, Campion has often been labeled a feminist director, a label that, while not inaccurate, fails to fully capture the dilemmas of her characters and the depth of her work. Born in Waikenae, New Zealand, on April 30, 1954, Campion was the product of a theatrical family. Her mother, Edith Campion is an actress and writer, while her father, Richard, is a theater and opera director. Educated at Wellington’s Victoria University, where she earned a B.A. in structural arts, Campion went on to study fine arts at London’s Chelsea School… read more
For a debut film, this is a incredible start. A lot of Campion's film depict women in struggles with love, sexuality, family, creativity, and really just, life. This is more in the family category. The cinematography really brings out the off-balance in the family dynamic relationship. Eccentric characters, and finding comedy in the little things of everyday.
@ Stephen. The acting is not the best? C’mon. The performances are a part of why it’s so great.
SWEETIE, from the first scene, plays ecstatically like a droll pop art exercise in cahoots with… read review