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It takes very little time around Sweetie to figure out that she's not well in the head she's no more emotionally mature than a child, but vigorously sexual, and prone to snappish, violent outbursts. Nothing about this situation needs a lit match, but one comes along anyway, about a third of the way through the movie: Kay's estranged sister Dawn (Geneviève Lemon), known generally as Sweetie, and her spacey boyfriend/agent/something like that, Bob (Michael Lake). And around the same time, she rips the Tree of Domestic Contentment up by the roots, hiding it under the guest bed.

Even after the cold clears up, she stays to herself. When she comes down with a cold, sending her into the guest bedroom so as not to infect Louis, there's a pretty unambiguous sense that she's relieved - joyed, even - to have a plausible excuse to avoid physical intimacy.

Kay is none too pleased by this, for reasons that she doesn't make clear, but then again, it doesn't seem that Kay is too pleased by anything these days. Indeed, life is happy enough for Louis to celebrate their anniversary by planting a tree right in the middle of a concrete slab, where their clothesline used to be the tree, he says, represents their love and life together. Thirteen months later, we find that Kay and Louis are living together in a shabby little house in a poorish neighborhood, but they're not suffering for it. Common decency isn't going to keep Kay from her destiny in no time at all she has Louis on the ground in the parking garage, having sex literally right at the feet of his soon-to-be pissed-off fiancée. Nor does it take very long for this prophecy to bear fruit: that very day, Kay's co-worker has just gotten engaged to Louis (Tom Lycos), and wouldn't you know but an errant curl of hair meets just so with a mole on his forehead to make a passable '?' shape.

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The reading is full of the expected bullshit, but Kay is eating it up, especially the detail that her future lover is to be identified by a question mark on his face. Kay (Karen Colston, in the first performance of a very small career) is a gangly woman indeterminately in her twenties, receiving a tea leaf reading from a fortune teller. That the film is dedicated to Campion's sister tells us little, perhaps, except that the director (co-writing with Gerard Lee, her collaborator on 'Passionless Moments') is mining very personal material in this project, which comes as no surprise given the film's great emotional intensity. And too, it is the story of her and her sister, and the deep vein of family anguish that has left the two of them incapable of communication or understanding. Titled Sweetie, it's a confounding, undefinable, frequently unpleasant and wholly brilliant look at a woman whose life experiences have left her an emotional void, unable to maintain any sort of true connection to people, though it's clear that there's little she craves more than such a relationship. Pascale Ferran, Cédric Klapisch, Laurent Cantet (directors) and Alain Rocca.Making full use of the doors that the 1986 Cannes Film Festival had opened for her, Jane Campion produced her first theatrical feature in 1989, and managed at the same time to create her first full-fledged, no-doubt-about-it, stone-cold masterpiece.

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Sweetie film