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Sweetie (The Criterion Collection) [Blu-ray]


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Product Details

  • Actors: Genevieve Lemon, Karen Colston, Tom Lycos, Jon Darling, Dorothy Barry
  • Directors: Jane Campion
  • Format: Multiple Formats, Blu-ray, Dolby, DTS Surround Sound, NTSC, Special Edition, Subtitled, Widescreen
  • Language: English
  • Subtitles: English
  • Region: Region A/1 (Read more about DVD/Blu-ray formats.)
  • Aspect Ratio: 1.77:1
  • Number of discs: 1
  • Rated: R (Restricted)
  • Studio: Criterion Collection
  • DVD Release Date: April 19, 2011
  • Run Time: 99 minutes
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (13 customer reviews)
  • ASIN: B004JPJHLU
  • Amazon Best Sellers Rank: #231,746 in Movies & TV (See Top 100 in Movies & TV)
  • Learn more about "Sweetie (The Criterion Collection) [Blu-ray]" on IMDb

Special Features

Restored digital transfer, supervised by director of photography Sally Bongers and approved by director Jane Campion, with DTS-HD Master Audio soundtrack

Audio commentary featuring Campion, Bongers, and screenwriter Gerard Lee

Making Sweetie, a video conversation between stars Genevieve Lemon and Karen Colston

Campion’s early short films An Exercise in Discipline: Peel, Passionless Moments, and A Girl’s Own Story

Jane Campion: The Film School Years, a 1989 video conversation between Campion and critic Peter Thompson

Gallery of behind-the-scenes photos and production stills

Original theatrical trailer

PLUS: A booklet featuring an essay by film scholar Dana Polan


Editorial Reviews

Though she went on to create a string of brilliant films, Jane Campion (The Piano, Bright Star) will always be remembered for her knockout debut feature, Sweetie, which focuses on the hazardous relationship between the buttoned-down, superstitious Kay and her rampaging, devil-may-care sister, Sweetie—and on their family’s profoundly rotten roots. A feast of colorful photography and captivating, idiosyncratic characters, Sweetie heralded the emergence of this gifted director, as well as a renaissance of Australian cinema, which would take the film world by storm in the nineties.

Customer Reviews

4.2 out of 5 stars
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See all 13 customer reviews
I also like this director's film: 'The Piano'.
Artprof67
The films success is that it balances these elements so well--and, in fact, that brings a bold realism and resonance to the proceedings.
K. Harris
The movie feels so intimate, so much so you feel you really know the people.
Michael Rousselle

Most Helpful Customer Reviews

20 of 20 people found the following review helpful By K. Harris HALL OF FAMETOP 50 REVIEWER on September 30, 2006
Format: DVD Verified Purchase
"Sweetie" is here! A Criterion treatment! The first time I saw "Sweetie" was purely by accident. It was before Jane Campion went on to make better known, bigger budget films--this film was her feature debut in Australia. And while I respect many of her works including "The Piano" and "An Angel At My Table", I don't have the passion for them that I do for this oddball of a movie. Part of the joy of seeing "Sweetie" for the first time was having no expectations. The film surprised me in every regard--it's wickedly funny, yet horrifying and moving at the same time. A few years ago, I found it again and I made my friends watch it, too. I was concerned it might not hold up to memory, but that feeling was short-lived as soon as the wondrous Genevieve Lemon came onscreen as Sweetie.

"Sweetie" is a film that really explores the notion of family. As the titular character, Sweetie is a powerful presence whose very existence has crippled her family and, in many ways, held them hostage. Primarily, we see things through Sweetie's sister Kay and I love that the film introduces us to the peculiarities of Kay without explanation. Then when Sweetie arrives on the scene, things start to become very clear as the family dynamic takes the foreground.

I consider "Sweetie" a comedy, but I'm not sure everyone would agree. But then, I have a bit of a sick sense of humor. Certainly there are many laughs to be had in the film--if only uncomfortable ones. But, make no mistake, there is also genuine and vivid emotional turmoil. The films success is that it balances these elements so well--and, in fact, that brings a bold realism and resonance to the proceedings.

The film is shot beautifully, and always slightly askew (which is perfect for the subject matter).
Read more ›
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9 of 10 people found the following review helpful By C. L. White on June 13, 2002
Format: VHS Tape
I've seen three Campion movies. It took a long time for me to forgive 'The Piano''s humorless, heavy hands and move on to 'Holy Smoke!'. But HS revealed a comic sensibility that 'The Piano' never suspected. 'Sweetie,' Campion's first feature, is by far my favorite yet.
'Sweetie' is an odd film. Mostly, it's an examination of what it means to be an individual--inside of and outside of the repetitive struggles of family dramas--and the perils and joys of exclusion and elitism. Campion uses her sharp wit to draw blood, and without the comforts of a privileged moral voice (e.g. the competent parent or maternal sufferer of most family dramas), the humor can seem a little mean-spirited at times. But 'Sweetie' tempers its alienated perspective with moments of grace that are as terrifying, joyful and sublime as the dry open spaces of its Australian landscape.
Moving the viewer through a fractured world of beautiful and unsettling images, Sweetie is this director's most richly creative and psychically adventurous work.
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11 of 14 people found the following review helpful By Peter Shelley on August 11, 2001
Format: VHS Tape
This film is to director Jane Campion's The Piano what David Lynch's Eraserhead is to his The Elephant Man - a personal highly stylised experiment before the challenge of the more conventional big budget assignments that would allow for both a controlling of each director's excesses and a streamlining of their obsessions. The parallel between Lynch and Campion can also be extended to their mutual interest in loners, misfits and eccentrics, and they both treat them with piteous dignity, in much the same way photographer Diane Arbus did for her "freaks". Sweetie is similar to Eraserhead also because it's an endurance test for those who hold a high opinion of each director's later work. The fine line between pleasure and pain can be felt with great artists and their fine line between genius and crud. Campion here uses a song "Love will never let you fall" sung by Tony Backhouse and The Cafe of the Gate of Salvation Choir as a backdrop to her tale of two sisters. Campion dedicates the film to her own sister and the screenplay written by herself and Gerard Lee is based on Campion's idea, so we know this is a personal story. (Campion's sister Anna is now also a director). Campion doesn't introduce the title sister until she has established the nature of the first, Kay, but also we don't fully understand why Kay is the way she is until Sweetie arrives, and is soon followed by their father. Sweetie is a monstrous child/woman but when the arguments between sisters begin it's hard to know whose side to take, since Sweetie makes Kay just as dislikable.Read more ›
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6 of 7 people found the following review helpful By Randy Buck VINE VOICE on May 8, 2007
Format: DVD
Once again, the Criterion Collection's given us a marvelous DVD transfer of a wonderful film that had rather fallen through the cracks -- in this case, Jane Campion's haunting feature debut, SWEETIE. Odd and intensely personal, the picture's full of striking images (particularly brilliant use of color in the set design), camera angles that are unusual without feeling forced, subversive comic writing, a wonderful soundtrack and, not least, fearless performances from a talented cast. This is the kind of movie that has such strong interior logic, the audience willingly follows where it leads, no matter how bizarre or unexpected the destination proves to be. I'd vividly remembered many scenes of SWEETIE since seeing it theatrically in its original release; experiencing Campion's vision again today is just as strong. The usual superior Criterion touches -- fascinating commentary and student works from this director, insightful essay in the accompanying booklet. If the only Campion films you know are THE PIANO or PORTRAIT OF A LADY, you may find many surprises here. Very worthwhile.
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