New Zealand film director, born in 1954 in Wellington (New Zealand).
Jane Campion graduated in Anthropology from the University of Victoria in his hometown, Wellington, in 1975. Shortly after he moved to Australia and there graduated in painting at the Sydney College of the Arts, in 1979. Somehow the combination of these activities takes you to the movies. At the beginning of the 1980s, in the Australian School of Film and Television begins to perform a series of short films that give you some prestige. Peel, an exercise in discipline, has as an argument a familiar scene: a father, his daughter and his son go by car on the way home. The boy begins throwing orange peels out of the window, until the father is fed up and asks him to fall to collect them. His sister begins to get very nervous, because it's going to miss your favorite program. This exercise in style Gets the Palme d'Or at the Cannes Film Festival. You would still be A Girl completo Own Story, Passionless Moments, co-directed by Gerard Lee, focusing again on embarrassing everyday scraps and After Hours, where enters a more elaborate argument, from the difficulties of separating sexual fantasies and fiction in a case of sexual harassment. After this training makes a brief stop in the small screen and directs Two Friends. Critics, who already had been thrilled with their short films, extols this first feature film which tells the story of two friends who are forced to separate when both are supported in the same school, but one of them does not let him attend. Campion is immersed with great skill in the teen world, showing their ability to target very young actors - as work that later would with Anna Paquin, winner of an Oscar for the Piano-.
In 1989, he directs his first feature film for the cinema. Sweetie portrays once again family life, but Campion adds an inanimate item threatening danger, thus creating a calming environment and unique. Home hangs over the characters helped by new and unpredictable camera angles. Here begins to consolidate its peculiar narrative: able to delve into the darker side of the characters, overturned completely about the sensations and the inner world.
In 1990 won Venice Film Festival Silver Lion with an angel at my table, based on the biography of Janet Frame and designed initially as a three chapters miniseries for Australian Television. From his childhood up to his youth, Frame is portrayed with a special affection and respect. Today is the author of twenty novels, books of poetry, plays and biographies, but published his first two books while it was internal in a psychiatric, eight years of horror as a result of unfortunate diagnosis, a morbid shyness. Campion compensates for this injustice with a film that is more of a dedication, focusing on the genius before that in the story, a feminist way to defend a punishing life and yet bright.
1992 means for her year of consecration, the massive recognition and the avalanche of awards. The piano, which is once again a woman film, becomes a fine play, directed with sensitivity and mastery, and that is very difficult to replace in its cinematography. It is not so strange that its next title, portrait of a lady, was not at the height, despite its protagonists (Nicole Kidman and John Malkovich) and be based on a magnificent novel. One thing is right: in illustrating the belief of Henry James that Europe was a nest of snakes for the American innocents.
Campion path is clearly marked by a kind of very personal stories and a way of doing that includes their films within the film. Except for the Piano, his cinema is not commercial because it does not seek contact with the public, is not intended to identify with the characters in their stories. The phenomenon of the Piano is the example of a graceful combination of elements given in the nail - voluntarily or not - with that kind of cinema that seems to copyright but a mass phenomenon eventually finds. When arrived portrait of a lady, it seemed that the film was endowed with the ingredients that would make him repeat the experience. But there are circumstances that a director can not repeat. The Piano had marked a milestone: was the first time since 1946 that the jury of the Cannes Festival gave the Palme d'Or to a woman (see Cannes Film Festival).
Short films: 1982: Peel (and script and installation). 1983: A girl's own story (and screenplay and song). 1984: Passionless Moments (and production, screenplay, camera and photography); After Hours.1986: Two Friends (Telefilm).
Feature films: 1989: Sweetie (and idea and casting). 1990: an angel at my table. 1992: The piano (and screenplay). 1995: Portrait of a lady. 1996: My Gun and His disciple. 2003: Raw.