Jane Campion (Wellington, 67) was surrounded in the photo by familiar faces. And, at the same time, she was alone. She was accompanied by famous men in suits, such as David Lynch or Ken Loach. All men, yes. Dozens of directors, one creator: her. “It was scary, I think for everyone. If there are no women, nobody thinks about it. But if one appears, you are obliged to see it”, recalled the New Zealand filmmaker during a conversation with EL PAÍS during the Venice Film Festival last September. The image had been taken in Cannes in 2017, when the French contest brought together all the winners of the Palme d’Or to celebrate its 70th anniversary. So, the only artist that appeared on that list was her, who got it with The piano (1993). But, in addition to crystallizing seven decades of inequality, the snapshot also serves to summarize Campion’s own career. Different author, unconventional, often in the margins. And, perhaps, for that reason forgotten. until the power of the dog It has catapulted her, suddenly, as a favorite towards the Oscar gala this Sunday. 12 nominations, the same as the years that she had not released a film.
The pools predict that it will win, at least, the award for best direction, as happened in Venice. She would be the third creator (after Kathryn Bigelow, for the hurt Locker in 2010, and Chloé Zaho, for Nomadland in 2021) to get it. But, above all, the statuette would mean Hollywood’s recognition of a filmmaker who, at 67, has filmed the best work of her career, according to most critics. “Talking with Annie Proulx [la autora de la novela Brokeback Mountain] about getting older, since she just turned 86, I asked her for a trick. And she told me: ‘The ’60s and ’70s are great decades, you’re in a great position to look deep into things. At 80 you are already more rusty’. And it is true. My memory is not as sharp anymore, but I notice that I have more wisdom and balance. I’m not so desperate for approval anymore,” Campion reflected at the Italian festival.
Of course, the power of the dog it doesn’t stay on the surface. Based on the homonymous novel by Thomas Savage (Alianza, 2021), a priori it is the story of two brothers, a widow and her son. But, underneath, a reflection on identity and masculinity is stirred. And about the prisons that one cannot get out of, even in the middle of the free plains of the Wild West. The code of the good cowboy, in 1925, did not admit doubts. And those who felt different like Phil – played by Benedict Cumberbatch, the first male lead in a Campion film – were condemned to hide their torment and attack to defend themselves.
“I hardly finish a novel. It is as if it had a mysterious force that continued to unravel, ”Campion assured about Savage’s book, with autobiographical overtones. Ever since she read it, she came back to visit him again and again. Until he was convinced that it should be made into a movie: “There is always a certain reluctance in me. I have many fears with commitment, because when I get into something, I do it with everything. And I knew it was an important job. Everyone who contributed recognized the quality of the story.”
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Hence, Campion returned to the movie set, which he had not stepped on since Bright Starin 2009. She underlined in Venice that these years she shot the series Top of the Lake with the same technical deployment. Although he did find a difference: “In the cinema you have two hours to communicate everything. I like it and I missed it a little bit. When I start watching something on Netflix or wherever, I always try to make it movies.”
For the platform, the director only has words of thanks. Compared to critical filmmakers, such as Christopher Nolan, she places herself alongside Alfonso Cuarón or Paolo Sorrentino, who have shot her most personal works with Netflix. “Nolan makes huge popular movies. But if you’re into complex stories, like I am, it’s lucky that Netflix is interested. Couldn’t have done it without them. This type of cinema needs more appetite. And then sooner or later all the movies end on-line, also those of Nolan”, the artist smiled.
The creator has often freely spoken her mind. And, a few days ago, she did it again regarding the Williams tennis sisters, protagonists of another Oscar-nominated film: “You don’t play against men like I do have to do.” Later, she apologized, but injustice has accompanied her journey and that of many others. “I grew up in the 1970s, when feminism was a new wave, but it sort of sank. It was clear that power was not something that men would share easily. For much of my career the perception was that only boys made good movies, and ours were stupid. I think it is changing, and everyone benefits from equality, ”she recounted in September.
Beyond the patriarchy, the creator recounted that on a shoot you deal with other daily problems. “You carry responsibility and anxiety. You are constantly strategizing so that each sequence can have its best shot. If you shoot it and it doesn’t turn out well, you know the movie will never be what it could have been. It’s a weight, but you can’t unload it on the actors. You need a good psychologist. And, at the same time, you have to be. And be nice. Everybody gets involved, and if someone gets angry it’s because he’s afraid of not getting the best of himself. I never judge or criticize the rest of the team. I respect them.” For now, the method deserves an Oscar for harmony. For other prizes, we will have to wait for the gala.
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