1/2/2024 0 Comments Sweetie movieThese new characters feel like something out of the Marx Brothers, or possibly John Waters, a parade of ne’er-do-wells charging onto the set and doing rude things with the scenery. Caught in Sweetie’s orbit is their father, Gordon (Jon Darling), who indulged Sweetie too much when she was little and couldn’t stop indulging her as she grew until ultimately she could never be indulged enough. There’s a focused aimlessness to these scenes that will be familiar to anyone who managed to get through their 20s without making a serious commitment to a job, cause, group, or person, and Campion is happy to follow Kay along through the ups and downs, finding the romantic ecstasy in an unexpected car park encounter, switching to an experimental stock-footage montage when Kay gets really into meditation.Īnd then her sister Dawn, aka Sweetie (Genevieve Lemon) barges into the movie, along with her vague aspirations to fame, her drugged-out boyfriend/manager, and a personality like a black hole-pure gravitational pull without the consolation of any light. She goes to a fortune teller, which leads her to a fall in love with a man, Louis (Tom Lycos), who tries to plant a tree symbolizing their love, which she pulls up by the roots, which leads to their spark drying up and them trying different things to get it back. The first half-hour of Sweetie ably demonstrates Campion’s light touch: its central character, reticent Kay (played by Karen Colston), seems perpetually unsure about the direction of her life, and the film is happy to follow her as she reaches out to things and tries to find meaning in them. This reminds me of Campion’s approach to filmmaking: she comes to every project with a clear idea of what she wants to do and how she wants to accomplish it but seems remarkably open to letting her characters take the story in unexpected directions. They mindlessly, inexorably pursue a single goal-grow further-but are remarkably accommodating in how they accomplish it, moving around obstacles, or through them, or sometimes swallowing them whole. It’s like they have hidden powers.” – Sweetie‘s opening linesĪ tree is a perfect central motif for Sweetie, Jane Campion’s theatrical feature debut. I used to imagine the roots of that tree crawling, crawling right under the house, right under my bed. Someone could be watching from behind them, someone who wishes you harm. It was her tree, she wouldn’t let me up it. ![]() ![]() It was built for my sister and it had fairy lights that went on and off in a sequence. “We had a tree in our yard with a palace in the branches.
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