This is hands down the best film in the English language I've seen for at least two years. Not only does it do its source absolute justice, it adds a genuine, highly original Oz visual atmosphere to its themes. The cast is nothing short of amazing, with every single character bringing the utmost of their craft to the roles. Judy Davis delivers one of the best performances of her illustrious career, but Kate Winslet, Kerry Fox and Sarah Snook are also fantastic. Liam Hemsworth isn't just hotter than Chris, he's also the far more nuanced thespian. Hugo Weaving, one of the best actors of his generation, sinks his teeth into his beefy part of an exceedingly well-mannered cop in the 1950's Oz outback.
Winslet is the mysterious stranger arriving by night whom he delivers her luggage to in the beginning of the film. He quickly recognizes her as the girl he sent away following the death of a boy her age 25 years earlier. The townsfolk, including her quick-tempered mother played by Davis, alternate between suspicion of the motives of her return and attraction for her stunning dressmaking skills and resolute character.
Some people will find the meandering story, which constantly shifts between mystery, comedy, tragedy and romance hard to follow. It's their own fault. Everyone else will highly appreciate the original story, the excellent camera work and set design, the abundance of love shown in every frame for a project that took 15 years to realize. Its domestic success as the 2nd most successful film of 2015 after you-know-which-one could not be more deserved.
One can therefore only wonder why the Adacemy snubbed this for the Oscars, especially if you look at the usual suspects which represent the contenders this year. And as justified as the #OscarsSoWhite debate is, this omission also reminds us of another group of movie artists which are all too often absent from the list of nominees: Women. For what makes "The Dressmaker" so highly enjoyable on top of its original story, local feel and excellent cast, is that it offers a feminine angle of storytelling which we do not get to see enough.
Winslet is the mysterious stranger arriving by night whom he delivers her luggage to in the beginning of the film. He quickly recognizes her as the girl he sent away following the death of a boy her age 25 years earlier. The townsfolk, including her quick-tempered mother played by Davis, alternate between suspicion of the motives of her return and attraction for her stunning dressmaking skills and resolute character.
Some people will find the meandering story, which constantly shifts between mystery, comedy, tragedy and romance hard to follow. It's their own fault. Everyone else will highly appreciate the original story, the excellent camera work and set design, the abundance of love shown in every frame for a project that took 15 years to realize. Its domestic success as the 2nd most successful film of 2015 after you-know-which-one could not be more deserved.
One can therefore only wonder why the Adacemy snubbed this for the Oscars, especially if you look at the usual suspects which represent the contenders this year. And as justified as the #OscarsSoWhite debate is, this omission also reminds us of another group of movie artists which are all too often absent from the list of nominees: Women. For what makes "The Dressmaker" so highly enjoyable on top of its original story, local feel and excellent cast, is that it offers a feminine angle of storytelling which we do not get to see enough.