Jane Campion draws you into the female experience.
From Janet Frame (Kerry Fox) of An Angel at My Table, to Ada McGrath (Holly Hunter) of The Piano to Robin Griffin (Elisabeth Moss) of Top of the Lake, throughout her career Campion has brought compelling, rebellious women to life. She has stated that she always creates female protagonists because she enjoys projecting herself into her characters and that “being a woman, I like to have heroines.” Her films and television series Top of the Lake consistently prioritise female subjectivity in response to patriarchal oppression. But like many female filmmakers, from Kathryn Bigelow to The Spy Who Dumped Me’s Susanna Fogel, Campion often resisted the labels of “female director” and “feminist director” despite (or perhaps because of) being heralded as both. Critics and academics alike have called her films feminist and yet she has had a complex relationship with feminist ideology as well as the word itself.
Read more on Screen Queens: #DirectedByWomen The Complex Feminism of Jane Campion