![]() 28-29Įllen Strain, “Reinstating the Cultural Framework: Kay Shaffer’s Women and the Bush and Jane Campion’s Sweetie,” USC Spectator, 11.2 (1991): pp. Hoberman, “Blue Velvet Down Under,” Premiere, 3 February 1990: pp. Myra Forsberg, “Sweetie Isn’t Sugary,” The New York Times, 14 January 1990: pp. Rachel Lang, “Girls on Film,” OnFilm, 7.6 (1990): p. 59-60Īnne-Marie Crawford and Adrian Martin, “Sweetie,” Cinema Papers, 75 (September 1989): pp. Robert Seidenberg, “Sweetie,” American Film: A Journal of the Film and Television Arts, 15 (January 1990): pp. Luke Buckmaster, ” Sweetie rewatched – Jane Campion’s beautifully strange film debut“, The Guardian, 16 January 2015 ![]() Glenn Heath Jr., ” Sweetie“, Slant Magazine, 17 April 2011 Lisa Morton, ” Crush and Sweetie: the Female Grotesque in Two Contemporary Australasian Films“, Deep South v.1 n.3 (Spring, 1995) Vincent Canby, “ Film Festival: ‘Sweetie,’ a Wry Comedy By New Australian Director”, New York Times, 6 October 1989Įric McDowell, “ First Films: Jane Campion’s Sweetie”, Michigan Quarterly Review, 12 June 2014 Hugh Lamberton, “ Sweetie’s Success Lies with Campion’s Style” The Canberra Times, 4 January 1990, p. Megan Murchy, “ Once Upon A Tone: Jane Campion Talks About How She Made Sweetie”, Filmnews, 1 September 1989, p. 32īill Gibron, “ Past Perfect Criterion Classics - Sweetie (1989)”, Pop Matters, Sue Gillet, “ More than Meets the Eye: The Mediation of Affects in Jane Campion’s Sweetie”, Senses of Cinema, December 1999ĭennis Lim, “ A Second Look: ‘Sweetie’”, LA Times, 17 April 2011Ĭass Hampton, “ Campion’s Skill is More Obvious in the Sequel”, The Canberra Times, 2 September 1991, p. Smith, “ Of Love and Other Demons: ‘Sweetie’ (Jane Campion, 1989)”, Vague Visages, 9 June 2016 However, the best of Sweetie’s personality persists, as Kay and her parents maintain an image of her in her most accurate form, that of a little girl.”ĭana Polan, “ Sweetie: Jane Campion’s Experiment” Criterion Collection They no longer feel manipulated and agitated by her presence. The family appears resolved, no longer scattered. Though her family begs her to come down, she refuses, continuing teasing, tormenting and shaking the fort until it falls from the tree, injuring her mother and killing Sweetie. After a series of circular fights (variable rage and delusions, her family’s forgiveness, proceeded by her sweetness and fun persona), she finally overextends the limit, stripping off her clothes, painting her body black and bouncing in her childhood tree house. Throughout, Sweetie’s physically destructive nature (ruining Kay’s clothes, breaking furniture) reflects the inner disruption she has caused her family. Louis, however, has found some freedom from his increasingly disconnected relationship with Kay because Sweetie lives uninhibited, with vigor and emotion (though extreme). Throughout, there are flashbacks of Sweetie dancing, singing and performing small, circus-like tricks with his assistance he wants the family to remain close and dislikes when Kay acts enraged with Sweetie. Kay’s father chooses to ignore most of the erratic, childish behavior (though she has been hospitalized before) because he loves her as a little girl. Sweetie, from Kay’s perspective, is selfish in her severe mental illness. ![]() Kay is quiet and superstitious, loving Louis because of the words of a fortune teller and experiencing deep foreboding towards a tree he attempted to plant in their yard. Plot summary from Wikipedia: “The film focuses on Kay’s relationships with her boyfriend Louis, her parents and her emotionally unhealthy sister, Sweetie. Cast: Genevieve Lemon, Karen Colston, Tom Lycos, Dorothy Barry, Jon Darling and Michael Lake ![]()
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