THE POWER OF THE DOG – Review by Wendy Ide

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Kirsten Dunst is a Rose caught between her husband and Benedict Cumberbatch’s hard-bitten brother-in-law in this poetic return from the New Zealand director Jane Campion.

There’s a rare sensual acuity in the film-making of Jane Campion. Hers is a body of work that can be mapped out in loaded touches: the tentative brush of skin against skin that sends a jolt through In the Cut; the caress of a piano key in The Piano. Even in a world like that of The Power of the Dog, populated by hard-baked ranchers, the softness long ago sandblasted from their manners, Campion takes a tactile approach to exploring her characters. But in this milieu, not given to gentleness and intimacy, a glimpse of hands working with strips of woven cowhide can take on a transgressive charge. Continue reading.

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Wendy Ide

Wendy Ide is a London-based film critic for both the consumer press (The Observer and The Guardian) and the trade press (Screen International). She writes features and interviews and she regularly hosts panels and live events. Wendy is a regular on the film festival circuit and has previously consulted on festival programming for the London Film Festival and Tallinn Black Nights Film Festival.