In The Cut, the new film from Piano director Jane Campion is a film filled with mixed messages. Campion's never been one to shy away from big issues, so tackling desire 'realistically' has meant a take on desire, lust and maybe even love which is unrecognisable to an audience raised on Hollywood clichés. The star of In The Cut is without a doubt Meg Ryan who plays the central character Frannie. Ryan's usual romantic-lead style is completely jettisoned, and she gives a deep, nuanced and gripping performance as a creative writing teacher whose loneliness lets her get embroiled in a murdered mystery and a (to put it mildly) complicated relationship with the investigating detective. Ryan also tackles the notion of 'realistic' sexuality and sex-scenes and handles both perfectly. The two main supporting cast, Mark Ruffalo as the detective, and Jennifer Jason Leigh as Frannie's sister Pauline, are both excellent as well.

In The Cut might be viewed as Campion's post-Sept 11 film in that it's set in New York and tackles the complications of life in the world's most populous island. However, the darkness of Campion's script (co-written with Sussana Moore) leaves every man in New York looking like a misogynist prick. All the shadows seem to hide danger. Every woman seems to be five seconds away from being attacked. Every male character is one step away from being a rapist. This is not a happy film, nor a pleasant cinematic city to visit. In complete contrast, Campion has utilised remarkable cinematographic vision and set up some brilliant scenes. The camera is very alive, almost always in motion, and the juxtaposition of darkness and the yellows of candlelight and interior lighting are used to their fullest, most expressive effect. Despite the content, some scenes are definitely beautiful. However, in the long run, the film is too dark and too depressed to be enjoyed. It may be an artistic milestone for Campion and Ryan, but is unlikely to have much box office success.