Something really distinctive about Jane Campion’s feminism. Films like In the Cut depict men the way sympathetic men have traditionally depicted women — fully human, possessed of rich inner lives and admitting of great complexity, but outsiders to the viewpoint of the film.This sounds like a simplistic reversal but I’m not convinced it’s easy to do. It’s not about just making men a threat, an invasive force, though that’s worthwhile too. It’s about destabilizing the conventional center of gravity without dehumanizing — men as other but not alien
professional crawler by night, interpretative dancer by morning, and my afternoons are reserved for the most dangerous game.