Sweetie

I'd recommend this to fans of Hal Hartley.

I feel like I am just too stupid for this movie. It's rated very highly by many people, but I just couldn't get into it. There were a few moments that stood out, the porcelain horses and the moments when Sweetie went off on a tangent, but in the end I didn't get much out of it. Some beautiful shots here, either way. It wasn't bad, but it just wasn't for me.

Little by little it somehow lost my interest and by the end I wasn't quite sure what to think. I enjoyed much of it, especially the beginning, and the aesthetic, photography, and use of color was uncanny, but something didn't click. Most of it felt sickly and dissociated; sometimes this was a strength, sometimes it was tiresome. I'll have to give this another look.

Here's a good ol' film that just had me feeling uncomfortable for most of its running-time. Our main woman is an insufferable and prudish homewrecker, as is her new-found hubby, and this solipsistic short-sightedness leads to them, as well as her equally selfish parents, to disregard taking care of her mentally ill and socially unequipped sister. Perhaps this film is meant to bring light to the fact we should be more considerate, and uses horrific characters to make this obvious claim.

Are there any "normal" Australian movies? This certainly isn't one. But it is a very good one. The title character is a bit grating, but I enjoyed the other lead and her various struggles. The humour vacillates from deadpan to absurd, and though I prefer when it hits the middle ground I laughed way more than I would have expected going on.

Viewed August 11, 2013. Not entirely sure what to think of it. Started out pretty good, but it kinda lost me by the end. It's weird and it has some nice cinematography.

It's kinda takes Hartleys aesthetic but misses what is great about his films (yes I know they're contemporaries)

The strange chords that are struck by the film are quite particular to a dark undercurrent in white New Zealand society that was explored in a handful of others of the same period. The strangeness is related to an emphasis on Freudian issues in the family unit with a distinctly regional bent. Accomplished cinematographic work builds a multi-faceted, para-realist film with only moderate ambitions.

We get it Australia sucks

Well, this is different, but it's not real compelling

she's never been in a coma, she's never even been unconscious!

Interestingly shot and well-lit, but the script has more in common with alpha stage ChatGPT attempts at writing moving stories than it does with fine art.

batıl inanç, kardeş, aile, psikolojik sorunlar, SPOILER Kay, batıl inançları olan bir kızdır. Bir gün fal baktarır ve kafaında soru işareti olan biri çıkar falında. Bu genci görünce durumu ona anlatır ve yazı tura atarlar. Çocuk da inanır Kay'a. Kardeşi Dawnee (Sweetie) gelip, Kay'in düzenini bozar. Peşinden babası gelir. Sweetie, ünlü olma hayaliyle psikoljisi bozulmuş bir genç kızdır. Film Müstehcen. Aslında konusu da yok gibi.

Well, it's not as good as An Angel At My Table, mainly because the leads are so unsympathetic. Pretty much the only people I liked were the parents. However, it kind of turns around at the end. If nothing else, the film looks gorgeous... Campion knows what to do with a camera, and plans her shots with careful deliberation. I don't know who I would recommend this to (it has certain Lynchian qualities, but only in a mild sense) but I would say that I mostly liked it, especially in the final act.

Assisti ontem enquanto eu estava full putaça dos canalhas de Brasília e acho que projetei isso demais nesse filme, por isso vou ter que revê-lo em brevepara melhor apreciação da Campion, pois ela sempre merece nossos olhos sem sombras. Na Mubi.

A depiction of distinct perversions of suburban Australia. It’s quite L***hian in composure, with performances ranging from brilliantly stilted to amateurish, to great effect. Brilliant dreamlike almost dehydrated tones

4 nisan 10, 29.ist. film fest. 11:00, atlas sinemasi & yonetmenin izledigim ilk filmi. lynch-vari bir anlatim ve ilk filmin yarattigi tedirginlik atmosferi cok guzel tamamlamis. sevdim ve pianoyu izlemek istiyorum! bir kadinin bakis acisindan oldugu bariz belli olan ama canimi hic sikmayan tam tersi bu yonuyle daha da ilginclesen bir film..

Jane Campion's first theatrical feature reminds me of UK kitchen-sink family dramas, but is at once hammier and more sincere than many of them. The things Geneviève Lemon as "Sweetie" does with her face are fascinatingly erratic, while Karen Colston as Kay makes a perpetually long face for contrast. We seem to be watching minutiae, but they eventually accumulate to form a crescendo and a climax that makes one look back. It's an unusually crafted film that deserves recommendation.

I thought the beginning was great, with some forces of spirituality and everything felt somewhat off, a feeling of being detached from reality. Then the whole focus shifts to the family conflict and that's just not as interesting to be honest. Then the final scenes are great again. Excellent looking film throughout.

This is sometimes interesting but sometimes a bit annoying. Very uneven with some aspects I'd rate closer to an 80 and some I'd rate closer to a 40. The sum of the parts ends up being relatively marginal but not bad.

The script is tight, but Campion's disaffected (though competent) direction left Sweetie feeling, at times, a little too idiosyncratic for its own good.