6th(2004)
In the Cut
Jane CAMPION
- Australia, USA
- 2003
- 118min
- 35mm
- color
SYNOPSIS
A serial killer struts on the streets and young, attractive women are targets, a tough detective is sent to the crime scene: a typical setting of a thriller film you might think. In the Cut comes four years on from Holly Smoke, a provocative avant-garde film driving audiences to an experience beyond imagination. Jane Campion has always focused on women using unique structures and themes and this film introduces us to a new horizon of the thriller genre by combining romance and mystery.
By centering the female protagonist in the narrative and rendering the audience to see the world through her eyes, the film reverses the conventional logic of classical thriller genre. Frannie, an English teacher in NYC, collects words of sexual obscenity for her Book of Complete Black Slangs. A girl next door gets murdered. Detective Malloy visits Frannie for investigation and the tough, confident male detective sexually fascinates her. But soon, faced with serial murders around her, Frannie gets doubts about him and her doubts lead her to a greater confusion and fear.
Campion captures subtle moments when impulsive nature of drive and passion change violently into complicated forms of love. With lines from literary poems, metaphoric settings and dreamy ambience, her poetic camera reveals the complexity hidden inside the New Yorker’s psychology.
Nicole Kidman is an executive producer and Susanna Moore, the author of the bestseller of the same title, is a co-screenwriter. In the frame of thriller genre, In the Cut proves again Jane Campion’s capability of telling about hidden desires and love in the modern life from a female perspective. (Lim Sung-min)
By centering the female protagonist in the narrative and rendering the audience to see the world through her eyes, the film reverses the conventional logic of classical thriller genre. Frannie, an English teacher in NYC, collects words of sexual obscenity for her Book of Complete Black Slangs. A girl next door gets murdered. Detective Malloy visits Frannie for investigation and the tough, confident male detective sexually fascinates her. But soon, faced with serial murders around her, Frannie gets doubts about him and her doubts lead her to a greater confusion and fear.
Campion captures subtle moments when impulsive nature of drive and passion change violently into complicated forms of love. With lines from literary poems, metaphoric settings and dreamy ambience, her poetic camera reveals the complexity hidden inside the New Yorker’s psychology.
Nicole Kidman is an executive producer and Susanna Moore, the author of the bestseller of the same title, is a co-screenwriter. In the frame of thriller genre, In the Cut proves again Jane Campion’s capability of telling about hidden desires and love in the modern life from a female perspective. (Lim Sung-min)
PROGRAM NOTE
A serial killer struts on the streets and young, attractive women are targets, a tough detective is sent to the crime scene: a typical setting of a thriller film you might think. In the Cut comes four years on from Holly Smoke, a provocative avant-garde film driving audiences to an experience beyond imagination. Jane Campion has always focused on women using unique structures and themes and this film introduces us to a new horizon of the thriller genre by combining romance and mystery.
By centering the female protagonist in the narrative and rendering the audience to see the world through her eyes, the film reverses the conventional logic of classical thriller genre. Frannie, an English teacher in NYC, collects words of sexual obscenity for her Book of Complete Black Slangs. A girl next door gets murdered. Detective Malloy visits Frannie for investigation and the tough, confident male detective sexually fascinates her. But soon, faced with serial murders around her, Frannie gets doubts about him and her doubts lead her to a greater confusion and fear.
Campion captures subtle moments when impulsive nature of drive and passion change violently into complicated forms of love. With lines from literary poems, metaphoric settings and dreamy ambience, her poetic camera reveals the complexity hidden inside the New Yorker’s psychology.
Nicole Kidman is an executive producer and Susanna Moore, the author of the bestseller of the same title, is a co-screenwriter. In the frame of thriller genre, In the Cut proves again Jane Campion’s capability of telling about hidden desires and love in the modern life from a female perspective. (Lim Sung-min)
By centering the female protagonist in the narrative and rendering the audience to see the world through her eyes, the film reverses the conventional logic of classical thriller genre. Frannie, an English teacher in NYC, collects words of sexual obscenity for her Book of Complete Black Slangs. A girl next door gets murdered. Detective Malloy visits Frannie for investigation and the tough, confident male detective sexually fascinates her. But soon, faced with serial murders around her, Frannie gets doubts about him and her doubts lead her to a greater confusion and fear.
Campion captures subtle moments when impulsive nature of drive and passion change violently into complicated forms of love. With lines from literary poems, metaphoric settings and dreamy ambience, her poetic camera reveals the complexity hidden inside the New Yorker’s psychology.
Nicole Kidman is an executive producer and Susanna Moore, the author of the bestseller of the same title, is a co-screenwriter. In the frame of thriller genre, In the Cut proves again Jane Campion’s capability of telling about hidden desires and love in the modern life from a female perspective. (Lim Sung-min)
Director
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Jane CAMPIONJane CAMPION
Born in Wellington, New Zealand in 1954. Jane CAMPION studied anthropology at Victoria University and moved to Australia to study painting at the Sydney College of the Arts and filmmaking at the Australian Film, Television and Radio School. Her Peel(1986) won the Palme d’Or for short film at Cannes Film Festival. She won a second Palme d’Or for her feature film The Piano (1993), being the first woman to attain this honour; she also won an Academy Awards for best original screenplay for the same film. Her filmography includes Sweetie (1989), An Angel at My Table (1990), The Portrait of a Lady (1996), Holy Smoke (1999), In the Cut (2003) which was screened as the Opening Film at IWFFIS 2004, Bright Star (2009) and Top of the Lake (2013).
Credit
- ProducerLaurie Parker, Nicole Kidman
- Cast Meg Ryan, Mark Ruffalo, Jennifer Jason Leigh, Kevi
- Screenwriter Jane Campion, Susanna Moore
- Cinematography Dion Beebe
- Editor Alexandre De Francheschi
- Music Hilmar Örn Hilmarsson
