atotheb-1 An unbeatable gem for those with discerning film taste. This film is very thoughtful and heartbreaking with unique characters you don't forget. It's not for those wanting Hollywood sugar and lies or simple distraction as it's slow yet brave and sure. Visually it is rather astounding, especially for a first feature film. It's inspirational to many filmmakers that I know. Every time I watch it I am in awe of the composition. As for the writing, it's also incredible. There are some moments that never leave your head once you take them in, and a perfect pacing of action and air. The dream sequences stand out as a bit odd, but they are at least attempting to do something different and it was after all still the eighties so it's forgivable. Perfect ending too.

killgeekgirl This is a fantastic film. It uncovers the dark side of married life, the preservation of life and the stark contrast between people tied together by blood. Elements of this film are nightmarish and reminiscent of the work of David Lynch. Visuals are surreal and interesting. Campion successfully captures the emotions of the protagonist and the dislike she feels toward her sister, Dawn. You can sense the hate/love relationship the family feels toward Dawn. It's so well done that you start to dislike her also and she's seen as thorn. The most powerful scene in this film is at the end. Overall this film is one of Campion's most original and interesting pieces of work.

anna an original vision..consistently followed through. The humour is what sets this film apart (as well as lush and particular style of framing/lighting) that makes the film world of "Sweetie" feel idiosyncratic, nightmarish and lurid. Whether or not it's your cup of tea, (and a pastel pink cup full of sacharine and strichnine is not everybody's cup of tea) it has to be applauded on a critical level. Along with contemporary Australian classics "The Night The Prowler" "Strictly Ballroom" "Starstruck" and "The Cars that Ate Paris" this film was the innovator of what later became a formula for Australian funding models vis a vis...quirky. But the early work was wonderfully dark and had a knowing sense of camp -- where later work failed.

kimothy-2 was ****ed up. This film was one of the strangest I've seen. Once again I admire Campion's courage to take art in a variety of directions. I was amazed by this film for no other reason than it's complete lack of boundaries. It was a fun ride!