Jane Campion

April 27, 2025

“Performers are so vulnerable. They’re frightened of humiliation, sure their work will be crap. I try to make an environment where it’s warm, where it’s OK to fail — a kind of home, I suppose.”

Die Alone (2024)

Presence (2024)

The Damned (2024)

A Different Man (2024)

It’s What’s Inside (2024)

Vadakkan (2025)

Mother’s Instinct (2018)

Last Breath (2025)

The Monkey (2025)

Havoc (2025)

Sinners (2025)

Warfare (2025)

Wolf Man (2025)

The Woman in the Yard (2025)

We Live in Time (2024)

Anora (2024)

The Leftovers – A Lonely Journey Through Loss, Faith, and Human Fragility

The Importance of Dystopia in Sci-fi / Horror

Powerful Sequences, Defining Soundtracks

Found Footage: The Beginning, the Escalation, and its Societal Impact

The Horror Inside Us: Leading Anxieties and False Certainties

Directors and Horror Films (Podcast)

Kids in Horror: Source of Evil vs Source of Resolution (Podcast)

Influential, Dissuasive, and Thought-Provoking Monologues

Epic Plot Holes in Iconic Films

This is England ’83 / ’86 / ’88 / ’90

The Qatsi Trilogy

Original vs Remake: Hollywood’s Need to Retell the Story (or the Lack Thereof)

Indie, Low Budget, and Utterly Mind-Bending

Adapting 300: Mise-en-scène and Visual Effects

True Detective (2014 – 2019): Reflections on Narrative and Character Development

Found Footage: Chronicles of Horror, Realism, and Case Studies

Jane Campion

The Unknown Woman (1956)

Steven Spielberg

Whose Film Is It Anyway

Olivia Colman