It is 1925, and Campion presents an exciting cowboy story, though without guns, bullets and fights. Having inherited a large ranch in Montana where they raise livestock and train horses, they have devised a neat pattern to co-exist in their mahogany panelled palatial house in the middle of nowhere. They even share a bed, making us wonder whether they have homosexual tendencies. Phil and George are brothers, who despite their chalk-and-cheese differences in character, are inseparable like Siamese twins. Campion’s current creation, which she adapted from Thomas Savage’s novel with the same title, is a disturbing mix of jealousy, rivalry and hatred as it is about love and affection. It is possible that The Power of the Dog would clinch a few Oscars early next year, though it is certainly not in the same league as The Piano, which was emotionally and passionately far more gripping. ![]() It won the top Palme d’Or at Cannes, and went on to garner the Best Actress Oscar for Paquin (who was only 11 then) and a Best Supporting trophy for Hunter. ![]() I remember her 1993 Cannes Competition title, The Piano, a period piece with Holly Hunter (essaying a “mute” woman), Harvey Keitel and Anna Paquin. The director’s latest, The Power of the Dog, which has just opened on Netflix, is a diversion from most of her works in which the protagonist is invariably a woman. It had a great cast of Ben Wishaw and Abbie Cornish. New Zealand director Jane Campion’s The Power of the Dog comes more than a decade after she made Bright Star on the last three years of poet John Keats’ life and his romance with Fanny Brawne. Cast: Benedict Cumberbatch, Kirsten Dunst, Jesse Plemons, Kodi Smit-McPhee
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