Dame Jane Campion helped shape New Zealand’s film industry, but New Zealand helped shape Campion’s films, influencing everything from cinematography to how her films are made.
One of contemporary cinema’s most accomplished directors, Dame Jane Campion was the first woman to win a Palme d’Or, for ‘The Piano’ (1993), and only the second woman to win an Academy Award for Best Director, with The Power of the Dog (2022). Her body of work also includes cult favourites like ‘Holy Smoke!’ (1999) and ‘An Angel at My Table' (1990).
Jane’s fine art training is reflected in the sophisticated visual style of her films. Cinematography is integral to her storytelling, helping to convey emotions and themes, often through symbolism and always in a perfectly framed shot.
When filming in New Zealand, Jane often focuses on the landscape, using it as a tool to develop the narrative. For instance, in ‘The Power of the Dog’, Jane captures the beauty of the Hawkdun Ranges in a way that both evokes and contrasts with the story’s brutal narrative. Similarly, in ‘An Angel at My Table’, a biographical film about New Zealand author Janet Frame, Jane uses shots of rural Otago to reflect the main character’s feelings of isolation.
When Jane began her career, film directing was a male-dominated field. She carved out a niche by placing complex female characters at the centre of her films and telling stories from their perspective. Her work often explores intimacy and relationships, revealing the nuanced, often contradictory ways women navigate the world and challenge social expectations.
She works in a variety of genres, often in unconventional ways. Whatever genre she works in – whether it be western (‘The Power of the Dog’), murder mystery (‘Top of the Lake’), or period drama (The Piano) – she doesn’t stick to formula. If anything, she’s a genre mixer. Apply the prefix ‘psychological’, as in psychological western or psychological murder mystery, and you’ll have something approaching an accurate description of her work.
Growing up in New Zealand has shaped Jane’s filmmaking. During her formative years as a filmmaker, New Zealand’s film industry was at a nascent stage. With limited budgets and resources, she focused on storytelling and found inventive ways to work within these constraints.
Jane has commented that filming in New Zealand provides a welcome break from Hollywood, allowing her to focus on craft, rather than the business side of filmmaking. She has also spoken positively about the collaborative spirit of the New Zealand film industry.
Sweetie, 1989
An Angel at My Table, 1990
The Piano, 1993
The Portrait of a Lady, 1996
Holly Smoke!, 1999
In the Cut, 2003
Abduction: The Megumi Yokota Story, 2006
Bright Star, 2009
Top of the Lake, 2013 (TV)
Top of the Lake: China Girl, 2017 (TV)
The Power of the Dog, 2021
