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There is something of a mystery in The Power of the Dog, having to do with Phil’s bitter antipathy for other people and with Rose’s son Peter, a tall, fey, nearly alien creature played by Kodi Smit-McPhee. Phil, who occupies the center of the film, is a cruel man with a hurt in his eyes, the kind of tightly coiled wreck who might break out in sudden violence, or in tears. They’re gentlemen ranchers, though no less hardened and eroded by their surroundings. These cowboys are from rarer stock than most: their well-to-do parents own the place but live elsewhere, and Phil and George are educated. The Power of the Dog unfolds in 1920s Montana, mostly on the property managed by the Burbank brothers: gruff Phil ( Benedict Cumberbatch) and soft-spoken, gentler George ( Jesse Plemons). Her films are aloof in their way, but are also deeply, palpably human.
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Campion has long been a chronicler of humanity’s unpredictable impulses her films (and one TV series) incisively map the mercurial flashes of mind and body that make up a life in the world.
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Repression gives way to risky expression of desire sublimated truths burble out in seemingly random patterns, causing characters to behave erratically. Though its protagonists are men, which is a rare focus for Campion, The Power of the Dog contains within it many of the director’s usual fascinations. Campion has adapted the 1967 novel by Thomas Savage, a desolate story of Montana ranchers living guarded, constricted lives. A film as elusive and mysterious as its title, Jane Campion’s The Power of the Dog, which premiered at the Venice Film Festival on Thursday (ahead of a Netflix debut this fall), is a beguiling entity.