Even as the film would have this very calm sequence of Gordon, Kay, and Louis going to the New South Wales desert to find Flo as it would be a moment to reinforce the idea of family but not everything is perfect where Campion goes to great lengths to display a depth of field to show how apart the family really is. Shot largely in Sydney with parts of the film shot in New South Wales, Campion infuses the film with a lot of symbolism such as the porcelain horses that Kay has to the small tree that she pulled out of her backyard that she put under the bed because of an omen she might’ve had. A lot of the first act has a sense of claustrophobia that is prevalent until the arrival of Sweetie where the film is carried with this new sense of energy that is unpredictable, exciting, and dangerous. Even to the point where Campion would bring in some sexual imagery to showcase Kay’s attempt to take that step but she feels uncomfortable in being fully nude to Louis.
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A lot of the compositions that Campion creates is often full of close-ups and wide shots to play into the sense of fear that Kay is living in as she has a hard time trying to get into the next step of her relationship with Louis. Notably in the way it plays into Kay’s life as she often narrates the film express not just her repression but also the sense of fear that she’s been living.
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Even to the point that his wife Flo (Dorothy Barry) finally returns as the family tries to figure out how to help Sweetie.Ĭampion’s direction is truly mesmerizing in the way she presents the life of a young woman and her dysfunctional family including her sister. Yet, Sweetie is also uncontrollable and vigorous where Kay and Sweetie’s father Gordon would eventually make an arrival as he is the only one that can talk to Sweetie though he’s admittedly guilty of indulging her and such. The arrival of Sweetie only adds more strain as Louis is fascinated by her but Sweetie is essentially a human tornado who acts very childlike and likes to have fun while hoping she would get a break into the music industry. It is there that Kay would meet Louis as she unknowingly steals him away from a co-worker as there’s love in the relationship but Kay’s fear of sex and omens started to strain things. The screenplay by Jane Campion and Gerard Lee is largely told from Kay’s perspective as she is a woman who is trying to find answers through a fortune teller in order to maintain a life that is safe and without complications. It’s a film that explores not just a woman’s repression but also the fears and insecurities she has while being unaware of how troubled her sister is who is the exact opposite of Kay. For Kay, she has to think about how the presence of her sister Sweetie (Genevieve Lemon) is affecting her already dysfunctional family as well as her relationship with Louis (Tom Lycos). When her younger yet emotionally-unstable sister makes an unexpected arrival, it only adds to the multitude of problems that Kay (Karen Colston) is having as she also learns that her parents had split up when her father (Jon Darling) also makes an unexpected arrival. The film explores the life of a buttoned-down yet superstitious woman who has finally found herself in a relationship but is still repressed by her superstitions. Sweetie is an entrancing yet captivating film from Jane Campion. Starring Genevieve Lemon, Karen Colston, Tom Lycos, and Jon Darling.
The film explores the dysfunctional world of family as well as one woman’s desire to define herself in that chaos as she also has a sister who emotionally-unstable. Directed by Jane Campion and screenplay by Campion and Gerard Lee from a story by Campion, Sweetie is the story of a twenty-something woman and her tumultuous relationship with her troubled sister as well as their family.
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