The 1990s were dominated not by sophisticated studies of female sexuality, but by ironic heist films and pop culture-referencing slasher movies. Campion laughed or, rather, guffawed in her boisterous, self-mocking way. It's a matter of looking after people – I think women do that really well.". Photograph: Sally Bongers T wenty-five years ago this month, Jane Campion became the first, and so far the only, female director to … She asks questions like those with which Keitel confronts Kate Winslet in Holy Smoke: "Why do people believe in God? We are facing a historic turning point. Lying on grass as pristinely green as that in Eden, a baby stares at this figure that bends down from the sky. I told her to forget about the camera, then I left her alone. Actually, she's on the phone! We got sick of waiting and shot it anyway – and then, just at the right moment, the curtain quivered. Her follow-up to The Piano, an adaptation of Henry James's The Portrait of a Lady with Nicole Kidman and John Malkovich, was respected rather than liked, and with each subsequent release – Holy Smoke, In the Cut – Campion looked to be floundering in a cinematic universe that failed to live up to her expectations. "I've known Kerry so long that I can just dial her up. How does it make you feel? The film's triumph is to make Fanny's demurely stoical routine more moving than the agony of the tubercular Keats, played with raw sensitivity by Ben Whishaw; its study of thoughts that go unvoiced and desires that are never satisfied made me understand what Keats meant when he said that he believed in "the holiness of the heart's affections". ", Directing Abbie Cornish as Fanny, Campion played the mother who resigns herself to an offspring's newfound freedom and cuts the cord. Bright Star hardly has a moving camera in it.". The drowning of Holly Hunter's piano is the best-known example, though Bright Star contains an equally delirious image of a butterfly farm in a hot, closed room. Has this complicated the financing for some of them? That's how it was with Ben Whishaw; we didn't talk, we kept the head out of it. Just go for it! Jane Campion: 'I make films so I can have fun with the characters' Peter Conrad. She strode into the adjoining room to collar Alice, who accompanies her everywhere, a pretext probably, since I suspect Campion was missing her daughter after a separation of 15 minutes. I fear being struck by lightning bolts." Back then, women just waited for men and sewed or mended while they were doing so. I once had an actor say to me, 'Jane, can you please use verbs?' Yes, I would, and will. And it's possible to sense that, with feminism in the cultural ether once again, the film might find its proper place in the pantheon. I wanted to have everything my big sister had and I used to say “Me too, me too,” all the time! Why do they believe they're in love?". If producers continue to ignore the female point of view, they will eventually lose their audience. Nicole Kidman, distressed during a scene of marital strife with the scary John Malkovich, is soothed in a whispered confabulation, with Campion drying her tears. Along with the usual battalion of gaffers, grips, best boys, propsmen, crowd marshals, trainee runners and suppliers of artificial snow, the credits of Bright Star list a home economist, the gloriously named Katharine Tidy, who ensured that the pots and pans in the Regency kitchens were authentic. She has the same kind of personality, always flying off, fantastic emotional ups and downs, yet very tender and kind under it all. Being a director is very tough, and you need everything you've got just to do your best job. That's a good point and [state funding] is where you can push really hard and say something's wrong here, we want change." But the way women love women is different to the way men love women: women love women who feel real, who are complicated, and not just sex objects. Was that, I wondered, a disqualification for making a film about a poet? Now that the #meetoo movement has allowed other women to express themselves, I feel more free to put a man at the center of my next film. Meet Jane. "I'm someone who loves to play," she said. What's to be done? She still would be the only woman, but the festival is emphatically not the problem. I remembered Keitel's description of Campion as a friskily spontaneous breeze. Her return to film-making was auspicious with the Keats biopic Bright Star – a "rebirth", as she herself says. I was just struggling to exist. In this world, women’s voices are not given enough importance, though I don’t just blame the film industry or critics for that. ", There's a similar but gentler moment in Bright Star, when a fluttering curtain suggests the respiration of nature, briefly agitating the closeted, corseted Brawne house. Hence her skill at directing children. (A batch, let me explain, is the local equivalent of an English country cottage, named after the unwived bachelors who used to live in such outback huts.) When 93% of films are made by men and this percentage has not increased since the beginning of film-making, we cannot remain at ease. I suppose some men would be allowing in the way I am, but Abbie told me she'd never had this kind of empathetic connection with a male director. I even tried being a hermit in the wilderness in New Zealand. I struggle to write male roles as they’re usually stemming from patriarchal structures, the same way I am wary of stereotyping female characters. "Film-making is not about whether you're a man or a woman; it's about sensitivity and hard work and really loving what you do. The story of repressed Victorian settlers in New Zealand, among them a mute woman who trades sexual favours with a European man half-submerged in Maori culture in order to get her beloved piano back, The Piano appeared to be a harbinger of change. For me, being a director is about watching, not about telling people what to do. After being drenched by an artificial storm, Barbara Hershey is towelled dry by her solicitous director. Jane Campion was the first woman to win a Palme d'Or and only the second ever to be nominated for the best director Oscar. This New Zealand director first attracted international attention with her 1989 film Sweetie, an acerbic study of two sisters in a wildly dysfunctional family.She followed this in 1990 with the television miniseries An Angel at My Table, based on the autobiography …

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