Louis happens to have a curl of hair that is positioned next to his forehead mole in such a way to resemble a question mark. When Kay goes to her workplace, her co-worker Cheryl announces her engagement to Louis. The tea leaf reader tells Kay she will end up with a man who has a question mark on his face.She gets involved with her co-worker’s fiancé Louis because she believes a tea leaf reading told her she was destined to be with him. Because Destiny Says So: How Kay lives her life.Anxiety Dreams: Kay has these about the tree Louis planted in the backyard, and her dark forebodings compel her to uproot the tree, hide it, and claim to Louis that someone else stole it.Ambiguously Gay: At the ranch in the outback, two male cowboys are line dancing closely together.Addled Addict: Sweetie refers to her male friend Bob as her “manager,” but it’s plain to see he is a barely functioning junkie.Sweetie’s arrival becomes the catalyst for a lot of familial wounds to surface. Sweetie, having previously stayed at a mental institution, comes to live at the home of her introspective sister Kay, bringing along her boyfriend Bob. The story centers on a family that is sucked into the chaos and destruction of one of its members-the adult Dawn, nicknamed Sweetie. The film was entered into the 1989 Cannes Film Festival and won an Independent Spirit Award for Best Foreign Film in 1991. It stars Geneviève Lemon, Karen Colston, Jon Darling, Dorothy Barry, and Tom Lycos. It is director Jane Campion’s first feature film. I'd have enjoyed this more if it hadn't fallen into the trap of throwing literally everything at the wall to see what sticks, but on a stylistic level I got a lot out of it.Sweetie is a 1989 Australian drama and black comedy film.
#Sweetie film movie#
But that was to the detriment of the film ultimately because felt my attention waning whenever the movie cut away from that.Ĭampion's directorial chops are evident even this early in her career, and obviously she goes on to make better things. The Kay and Louis conflict was the one felt most invested in, since it's the one the story spends the most time building at the start. from scene to scene found myself struggling to find an emotional grasp on the situation because it felt like each of the three main stories was choking out the others.
While it was often funny and occasionally illuminating.
#Sweetie film trial#
The result is a script and film that feels somehow overdevel oped, introducing the layered narrative of a fractured family with conflicts on three separate fronts Kay and her husband Louis are on the outs, Kay's parents are having a trial separation, and Sweetie herself is a tornado of chaos sweeping through the middle of it all to cause further dischord. Campion and co-writer Gerard Lee tackle the script with the fervour of first time filmmakers who are both hungry and understand this first time might end up being the only time. Where it does fall down for me unfortunately is in the writing. And it's all shot through in glorious colour too, pretty much every frame of this pops off the screen with vibrancy.
It all looks stunning, with odd angles placing the performers pretty much always off centre frame and often relegating them to a small corner, really emphasising the sad loneliness of their vaguely middle class existence. Jane Campion's first feature film proper Sweetie seems to take the last ten minutes or so of Two Friends, where that movie came alive, and runs with it in an aesthetic that can perhaps be summed up as Jeunet and Caro meet the David Lynch short films on the set of the music video for Soundgarden's Black Hole Sun. Copying this over from Letterboxd, so hopefully there's no weird formatting issues.
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