The Power of The Dog … that could

Jane Campion has directed an unswerving pressure cooker of a film that is aware of its western roots and a new audience it is reaching out to.

Much like Baby Driver, opening with audio rather than a visual, The Power of the Dog presents a film that feels both slow and fast as it builds to its surprising end.

Each word spoken by Peter played by Kodi Smit-McPhee is measured and un-rushed, setting the stage beautifully for the film to unfold. In this way, Jane Campion exercises meticulous control over the delivery of information, never treating the audience as inept, but instead choosing to give us the time to ponder the connections.

It goes without saying the performances from all the actors in this film are stunning, Kirsten Dunst as Rose and Benedict Cumberbatch as Phil standing out as sensational. It is a horrific joy to watch Phil psychologically torture Rose into alcoholism through his own misguided fear of being alone. On paper this conflict seems very one-sided as Rose has little recourse, however, the directorial choice to stay true to her character and that period doesn't feel out of place.

Had someone told me the synopsis for this film I would have been concerned about the lack of proactivity from Rose’s Character until we discover Peter! Peter unusually disappears from the beginning of the film for a while but his return delivers the momentum the film needs.

Unlike the legendary Easy Rider, Jane does not rely on the hefty use of incredible vistas but instead relenting to their intoxicating grandeur only a handful of times throughout the film. I feel this was less as a way to be awed, and more as a tool to build on what we have seen, giving us a well-deserved moment to breathe.

Jane has also taken great pains to deliver a story that surprises its audience, more than just its twisted ending, but by raising questions of masculinity and sexuality in this period within a unique format. For me, I felt it refreshing as I personally have not seen a movie that has characters who are struggling with their sexuality, NOT be the centre of the story. Instead, we are treated to a film that uses these struggles are elements to enthral and ultimately surprise us.

It is important to note, although I feel it is vital to continue to tell stories of gender identity and sexuality, it is fascinating to see how these subjects can also become a powerful force to tell stories.

This film is required watching. Period.

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