Skip to main content

Jane Campion at Cannes

Jane Campion & her Carosse d'Or
It was a proud moment for New Zealanders and Australians last week when Jane Campion received her Carosse d'Or at Cannes. The Carosse d'Or (Golden Coach) prize is a tribute by directors of La Société des Réalisateurs de Films (SRF) to one of their own, chosen from the international filmmaking community for the innovative qualities, courage and independent-mindedness of his or her work.

Jacques Rozier was the first winner when the prize was created in 2002. Subsequent winners were Clint Eastwood, Nanni Moretti, Sembene Ousmane, David Cronenberg, Alain Cavalier, Jim Jarmusch, Naomi Kawase, Agnès Varda, Jafar Panahi et Nuri Bilge Ceylan.

Here's the SRF's list of Jane's films. It helped me to reflect on the full sweep of her work. And then to appreciate, all over again, that while making these films she's also strongly supported other women filmmakers. And then to feel deep gratitude for the way the SRF-identified qualities in her work have spilled over into her activism. Globally, there's no other director who's managed to do this.


1982 An Exercise in Discipline – Peel (short)
1983 Passionless Moments (short)
1984 Mishaps of Seduction and Conquest (video)
A Girl's Own Story (short)
After Hours (short)
1986 Dancing Daze (TV)
1989 Sweetie
1990 An Angel at My Table
1993 The Piano
1996 The Portrait of a Lady
1999 Holy Smoke
2003 In the Cut
2006 The Water Diary (from the film 8)
2009 Bright Star
2013 Top of the Lake (TV)


Pierre Rissient
Because I often wonder about who advocates for and supports successful women filmmakers, I loved reading that Jane Campion dedicated the Carosse d'Or to her cinema 'godfather', renowned cinephile Pierre Rissient, who was there to see her collect the prize. Pierre Rissient is a Frenchman who discovered Campion's short films at the start of her career in Australia and had them shown in Cannes. She barely knew of the festival at the time, but Rissient insisted she attend."He's supported me, he's been very loyal, he's helped me get finance," she said in an interview."Now he's a very old guy, a beautiful man, and to have a godfather like that in this industry is very helpful and very moving."

Last Thursday, after a 'Conversation with Jane Campion' at the Théâtre Croisette she was given the prize itself at the ceremony that opened the Directors Fortnight. Femmes du Cinema de la Television et des Nouveaux Media (Paris) were there and later posted a segment of the conversation about women directors.



Also at Cannes, this discussion about Top of The Lake, from Allocine.




Many congratulations to you, Jane Campion! Do we celebrate you enough in Australia and New Zealand? I'm not sure that we do.

Comments

  1. Congratulations! You deserve to be celebrated. Well done

    http://singlenaijamum.com

    ReplyDelete

Post a Comment

Popular posts from this blog

NZ Update #12: Everything's Gonna Be All Right?

Look at these two! Our Prime Minister and our distinguished filmmaker and global advocate for women filmmakers meet, at last week's SPADA (Screen Production and Development Association) conference. Look at their pleasure in each other. Their body language. Their close attention.




For me, this meeting is a significant turning point in the movement to gender equity in the allocation of public money for screen storytelling. The first one was at 2015's Big Screen Symposium, when Chelsea Cohen – with support from other Māori women – spoke out  about the need to allocate New Zealand Film Commission funding equally to women and men. Our first woman writer/director/producer to do this publicly. Her courage made it safer for others to follow her example.

So: what might this Jacinda-And-Jane meeting mean?

The new government has already announced its commitment to pay equity and I think we can now be confident that gender equity will infuse screen production. I think we can also be confid…

Pause. Reflect. Cherish.

Chantal Akerman's Death
I tried to write about why I felt so deeply sad about Chantal Akerman's death, then read a post from poet Ana Božičević, who got it just right for me–
No one knows for sure why a woman takes her life but that Chantal A might have done so in part because her No Home Movie – about her mother Natalia an Auschwitz survivor, which was grueling to make – was booed...really breaks my heart this morning. I wonder always, who cares, as in provides care, for the women artists who go to deep dark uncommercial places? Which intimate understands the skill, of craft and emotion, necessary for the work that they do? I wrote in some napkin or tweet once 'they only love the Sylvias after they are dead'. Give care to the woman artist in your life even and especially when she does the hard depth work that challenges the mind and body, yours and hers. And if you are that woman, thank you today & every day. Thank you, Ana. And many thanks for letting me reprint …

How To Be A #WomeninFilm Activist :Sophie Mayer's Manifesto

I love Sophie Mayer and her work and her generosity. If you’re not familiar with her, check out my interview with her, when she launched her latest book, Political Animals: The New Feminist Cinema, in 2016; she is also a poet.

I endorse everything she writes in this post, originally published on Facebook.

by Sophie Mayer

So. Over the last few days, several dozen people have approached me about setting up, moderating or endorsing various kinds of closed/secret/anonymous groups or portals for disclosure of harassment and assault in the screen sector. I'm glad people are ready to talk, but here's

(a) why I think they're asking me; and

(b) why I've said no, and what I think we do instead. Take a deep breath -- I'm going long. If you like it, Paypal me.

1.
a) I am public about being a survivor of serial sexual abuse, rape and assault.

b) Going public is not for everyone, for reasons we know; I'm not going to tell you that disclosure is empowering, but I will tell you…