A Thousand Acres (1997)
Directed by Jocelyn Moorhouse
The lives of an Iowa farmer's three daughters are shattered when he suddenly decides to bequeath them the family's fertile farm.
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What critics compared A Thousand Acres to
Each scene is internally consistent, but they add up to something like a patchwork: sometimes director Jocelyn Moorhouse (A Thousand Acres) wrings certain emotions from the script she cowrote with P.J. Hogan (Mental), but it’s rarely the same emotion twice.
The Dressmaker is the first feature in 18 years from Australian filmmaker Jocelyn Moorhouse, whose success here with 1991's Proof took her to Hollywood for How to Make an American Quilt and then an intimate reworking of King Lear, A Thousand Acres.
Aussie director Jocelyn Moorhouse’s first feature in nearly 20 years (since 1997’s “A Thousand Acres”) is, rather, a rowdy Down Under prodigal-daughter saga.
Moorhouse — who hasn’t made a film since 1997’s A Thousand Acres, which is ridiculous — didn’t just direct but also adapted (with P.J. Hogan, a dude) Rosalie Ham’s novel, and she pulls no punches when it comes to the distinct sort of soul-crushing that women can be subjected to.
Jocelyn Moorhouse, directing her first film since 1997’s “A Thousand Acres,” fashions “The Dressmaker” as a bizarre little ode to her Australian homeland.
After a smashing Aussie debut with 1991's Proof, Moorhouse worked in Hollywood with scant success on How To Make an American Quilt (1995) and A Thousand Acres (1997).