On Friday evening, through March of this year’s New York Film Festival, the legendary director and writer Jane Campion Join Benedict Cumberbatch, Kirsten Dunst, Cody Smith-McPhee And CEO of Netflix Ted Sarandos At the premiere of his new film “The Power of the Dog” to New York audiences.
Friday’s event spread to the Tavern of the Green in Central Park for an intimate after party. The fall tour of “The Power of the Dogs” continued throughout the World Film Festival from Venice to Telluride to Toronto in the evening. It also sustained the continued enthusiasm of the film community to find Campion, whose films offered a better portrayed feminist character in the film, promoting her first feature in 12 years.
“When I was little and watched ‘The Piano’, Jane was a filmmaker I admired and wanted to work with,” Dunst said. Diversity In the premiere. “When I was in my 20’s, he actually sent me a letter about working together. I’ve saved it ever since. Her films and the women there have sustained me throughout my career.
As an adaptation of Thomas Savage’s 1967 novel of the same name, “The Power of the Dog” is less exciting sex and bullying, the biographical image that makes Campion the best.
The film, made in Montana in the 2020s, follows Phil Burbank (Cumberbatch), a Mosquito cattle breeder whose reign of terror is made up of borderline masculinity and deeply closed sex. When his brother (Jesse Plemons) marries a young widow (Kirsten Dunst) to a simple, strange boy (Cody Smith-McPhee), Cumberbatch’s character is again reminded of the former cowboy’s advice, affection and intimacy.
“The film is clearly a complex way to approach masculinity. I think it’s a solid container for thinking and rethinking the men of this world, “Campion proposed at a news conference before Friday’s premiere. “I see this film as a departure from my other films, but maybe it’s a nice book for ‘The Piano’.” “It’s another great landscape film that explores patriarchal mythology.”
The film asks what would happen if you turned the American Western on its head যখন when you look at the mythical notions of self-control and imaginative masculinity as an exercise in hiding hidden sexual desires. More importantly, what would happen if a famous New Zealander tackled American masculinity and male intimacy by portraying a straightforward actor in the mountains of New Zealand?
As would seem from Campion and Cumberbatch, the film is not Western or a narrative solely related to the twisted wounds of internal homophobia and closed quirns.
“I didn’t think it was Western,” Campion said at the screening, suggesting that the story also includes characters who belong to the genre. “The story was very precise.”
Cumberbatch offered Phil’s own assessment. “He’s a tough guy,” he said Diversity In the premiere. “He’s an alpha man, he had this burning love affair in his youth, which can never be said. Tragedy turns him into a poisonous man, born of anger and punishment and hatred on earth.
“Yet it’s very difficult to see the picture through today’s lens,” Cumberbatch, who previously responded to criticism of his playful character, continued. “We now see it as a strange text, but the story is tied to its time and place,” he said. “Phil is lonely, jealous and sad, but he is not disgusted with himself. In Montana, on the open border, it has privacy.