Céline Sciamma’s 2019 Cannes sensation PORTRAIT OF A LADY ON FIRE is a lush, romantic film set on an isolated island and concerned with irrepressible desires in deeply repressive times, a description that neatly applies to another Cannes breakout from 1993: Jane Campion’s THE PIANO. But the love affair at the heart of Campion’s film plays with a much trickier power imbalance, which we get into as we process THE PIANO’s complicated relationships, its most essential performances, and the conversation around it both now and then. Plus, we tackle some feedback from a couple of recent episodes regarding some details we got wrong, and some we got right.

Please share your comments, thoughts, and questions about THE PIANO, PORTRAIT OF A LADY ON FIRE, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730.

Works Cited:

• “Sexism and Misogyny: Who Takes the Rap? Misogyny, gangsta rap, and The Piano” by bell hooks (1994)

Outro music: Judy Garland, “I Love a Piano”

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