In the Cut (2003)
Directed by Jane Campion
A New York City writing professor, Frannie Avery, has an affair with a police detective who is investigating the murder of a beautiful young woman in her neighborhood.
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What critics compared In the Cut to
His discovery of it it echoes the experience of Meg Ryan’s Frannie in Jane Campion’s In the Cut (2003), a gruesome feminist thriller set in post-9/11 New York that is analogous to You Were Never Really Here in its mood of creeping dread.
There's an analogue in tales of Amazons cutting off their breast to better facilitate the drawing of a bow--your reminder that this is the original ending to the book that would become Jane Campion's brutal/beautiful In the Cut .
…the bar for erotic BDSM thrillers is notoriously low (9½ Weeks and Fifty Shades of Grey have betrayed kink again and again) even with certain exceptions (the stellar Bound, Jane Campion’s In the Cut)––simply knowing your stuff doesn’t get you far.
There is a foglike dread, dread of how bad things can get, that runs through violent female-made films like Jane Campion’s In the Cut and Lynne Ramsay’s We Need to Talk About Kevin — a subtle undertone of the silent agony that male supremacy is built on.
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Whether it's flaccid thrillers like Body Of Evidence or In The Cut , genuinely laughable efforts like Killing Me Softly or the increasingly awkward Last Tango In Paris which has aged about as well as a gangrenous wound, few films manage to rise above being mere titillation to become worthy pieces of cinema in their own right.
Parker and the Vicious Circle, Georgia (her singing of “Take Me Back” in that film is better than many careers), In the Cut, and several others.
A lot of noirs have been shot in the City of Angels, but none like this; credit co-cinematographers Dion Beebe (who pulled a similar trick with the East Village in Jane Campion's In the Cut ) and Paul Cameron, working mostly in an impressive HiDef video format--and credit Mann.