The strange ‘revival’ of Jane Campion, by Desirée de Fez

There is a phenomenon just as strange as the disparagement, at one point in their careers, of filmmakers who were fundamental. It’s the unexpected vindication – I suppose clinging to the idea that time puts things in their place– of filmmakers who, not so long ago, were talked about with less enthusiasm. An example is Jane Campion. Some days ago, received from Julia Ducournau the prestigious Prix Lumière honorary at the Lumière Festival. He won that award a few weeks after winning the award for best direction at the Venice festival for ‘The power of the dog’ (2021) and two years after ‘El piano’ (1993) was the winner of the poll of the BBC (from the votes of 368 critics from 84 countries) that sought the best film directed by a woman.

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I don’t dispute those awards. Nor the relevance of Jane Campion, among other things, for being the first woman to win the Palme d’Or. Nor the virtues of his filmography, for me irregular but with interesting things: ‘An angel at my table’ (1990), ‘Holy Smoke’ (1999) or ‘The piano’ itself. And I am convinced that is a reference for many viewers. But, adhering to the general perception that until now has been had here of her cinema (I don’t know if it has been like that everywhere) and, obviously, knowing that there are also those who have not stopped adoring her, I am struck by how it is spoken and it is now being written about. Today, he is little less than a key figure in film history. And maybe that’s the way it is, but the ease with which we forget things is still striking: ‘Holy Smoke’ (1999) and ‘En carne viva’ (2003) were not exactly received with enthusiasm, and many accused ‘El piano’ cheesy.

It’s curious how we change the image of things without reflecting on it. Of course, we must vindicate Jane Campion, but it is worth wondering why now and not before. Do we understand it better now? Do your movies make more sense today than yesterday? Have we now realized its greatness? Does your cinema better connect with the new critics? Did it play against you (as in so many cases) being a woman? It would still be nice to ask yourself those questions and give some answers so that these unexpected bursts of enthusiasm do not be capricious.