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Ferocious, perverted and pure

Jane Campion’s strange and brilliant films—and her new television series Top of the Lake—make most onscreen portrayals of women look absurdly shallow

By Rachel Shteir   August 2013

L-R: Robyn Malcolm, Georgi Kay, Holly Hunter and Elisabeth Moss in Top of the Lake—“a fairy tale world shot through with melancholy” © BBC/See Saw Films/Parisa Taghizadeh

“You don’t discover the truth just by developing a plot,” the filmmaker Jane Campion once told an interviewer who asked about her first feature, the elliptical and unsettling Sweetie. Campion’s famous ambivalence to plot may be a thing of the past—her latest project is the crime mini-series Top of the Lake, and no genre needs plot as badly as crime—but that quote still…

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