I saw this for the first time a few weeks back. It is Jane Campion’s feature film debut and it is fucking gorgeously shot. Shout out to cinematographer Sally Bongers for capturing Campion’s unique vision! It’s also really fucking bittersweet and strange. That said, I don’t really want to spoil the twists and turns too much, so mostly I’m going to focus this week on some arresting shots that have haunted me for the last few weeks.
In honor of director Jane Campion being the head of this year’s Cannes Film Festival jury and this film’s five-year anniversary (it premiered at Cannes on May 15th, 2009), I decided I would finally write about Bright Star. I love this movie so dearly that I know I won’t be able to cover everything that I love about it (I could write a whole book!), so instead I have picked out a few of my favorite moments from the film.
I saw The Piano for the first time about a year ago after I’d seen Campion’s most recent film Bright Star, which I unabashedly love, and decided I needed to see her “masterpiece.” While I liked Bright Star more, I think it’s mostly because of the sentiments expressed in the latter. I definitely think The Piano is one of the best films I have ever seen and Holly Hunter gives a show-stopping performance. The film won the Palme d’Or and Best Performance prizes at the 1993 Cannes Film Festival. Jane Campion became only the second woman to be nominated for the Academy Award for Best Director. The film was nominated for eight Academy Awards, winning three: Best Costume Design, Best Cinematography, Best Film Editing, Best Original Screenplay (won), Best Supporting Actress Anna Paquin (won), Best Actress Holly Hunter (won), Best Director and Best Picture. It was up against The Fugitive, In The Name of the Father, The Piano, The Remains of the Day and winner Schindler’s List.