Owen Gleiberman Chief Film CriticJane Campion is a great filmmaker who has always marched to a different (at times dissonant) drummer.
But I suspect I’m far from alone when I say that I’ve long yearned to see her make another movie that can speak with the populist poetry and passion of “The Piano” — her most famous and successful film, and also (tellingly) her most artful.
I raise the issue because “The Power of the Dog,” Campion’s eighth feature in 30 years, is a frontier Western made with a stately and austere poker-faced modernist classicism, and roiling undercurrents, that sometimes bring the earlier film to mind.
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