 
  Popularity: 6 (history)
| Director: | Jane Campion | 
|---|---|
| Writer: | Jane Campion, Thomas Savage | 
| Staring: | 
| Name | Job | 
|---|---|
| Nina Gold | Casting | 
| Carmen Cuba | Casting Consultant | 
| Jane Campion | Director, Writer | 
| Thomas Savage | Novel | 
| Tina Cleary | Casting | 
| Grant Major | Production Design | 
| Nick Connor | Art Direction | 
| Mark Robins | Supervising Art Director | 
| Kirsty Cameron | Costume Design | 
| Dave Whitehead | Sound Designer | 
| Matt Austin | Art Direction | 
| George Hamilton | Art Direction | 
| Amber Richards | Set Decoration | 
| Richard Flynn | Sound Mixer | 
| Mario Vaccaro | Foley Artist | 
| Owen Grieve | ADR Recordist | 
| Jason Hawkins | Visual Effects Supervisor | 
| Alison Ingram | Visual Effects Producer | 
| Mick Boraso | Sound Editor | 
| Alice Baker | Costume Supervisor | 
| Daniel Koene | Set Designer | 
| Phil Jones | First Assistant Director | 
| Matt Johnston | Second Second Assistant Director | 
| Kirsty Griffin | Still Photographer | 
| Bryan Haas | Thanks | 
| Noriko Watanabe | Makeup Designer, Hair Designer | 
| Chloe Smith | Line Producer | 
| Kathleen Thomas | Script Supervisor | 
| Colleen Clarke | Post Production Supervisor | 
| Grant Adams | Steadicam Operator, Camera Operator, Second Unit Director of Photography | 
| Ben Rowsell | First Assistant "A" Camera | 
| Nick Willoughby | Second Assistant "A" Camera | 
| Sandy Wakefield | Boom Operator | 
| Nicholas Riini | Best Boy Electric | 
| Cilly Lawrence | Rigging Gaffer | 
| Rui Li | Visual Effects | 
| Tara Webb | Sound Effects Editor | 
| Ben Whale | Set Dresser | 
| Flavia Dias Riley | Visual Effects Producer | 
| Sarah Cathie | Set Designer | 
| Peter Long | Title Designer | 
| Renata Blaich | Second Assistant Director | 
| Ben Ruffell | Drone Operator | 
| Daniel Foeldes | First Assistant "A" Camera | 
| Moira Grant | Unit Production Manager | 
| Steven McKinnon | Finance | 
| Henry West | First Assistant "B" Camera | 
| Jimmy Bollinger | Second Assistant "B" Camera | 
| Thad Lawrence | Gaffer | 
| Merlin Wilford | Best Boy Electric | 
| Tanya Seghatchian | Script Consultant | 
| Linda Fenwick | Production Coordinator | 
| Jonny Greenwood | Original Music Composer | 
| Ari Wegner | Director of Photography | 
| Peter Sciberras | Editor | 
| Nikki Barrett | Casting | 
| Robert Mackenzie | Supervising Sound Editor | 
| Name | Title | 
|---|---|
| John Woodward | Executive Producer | 
| Simon Gillis | Executive Producer | 
| Tanya Seghatchian | Producer | 
| Rose Garnett | Executive Producer | 
| Chloe Smith | Co-Producer | 
| Libby Sharpe | Co-Producer | 
| Phil Jones | Associate Producer | 
| Emile Sherman | Producer | 
| Iain Canning | Producer | 
| Roger Frappier | Producer | 
| Jane Campion | Producer | 
| Organization | Category | Person | |
|---|---|---|---|
| BAFTA Awards | Best Picture | N/A | Won | 
| BAFTA Awards | Best Director | Jane Campion | Won | 
| BAFTA Awards | Best Supporting Actor | Kodi Smit-McPhee | Won | 
| SAG Awards | Best Actor | Benedict Cumberbatch | Won | 
| SAG Awards | Best Director | Benedict Cumberbatch | Won | 
| SAG Awards | Best Supporting Actor | Kodi Smit-McPhee | Nominated | 
| Venice Film Festival | Best Actor | Benedict Cumberbatch | Won | 
| Venice Film Festival | Best Actress | Kristen Stewart | Won | 
| Academy Awards | Best Picture | N/A | Nominated | 
| Academy Awards | Best Actor | Benedict Cumberbatch | Won | 
| Academy Awards | Best Supporting Actor | Jesse Plemons | Nominated | 
| Golden Globes | Best Picture | N/A | Won | 
| Golden Globes | Best Actor | Benedict Cumberbatch | Won | 
| Golden Globes | Best Actress | Kirsten Dunst | Nominated | 
| Golden Globes | Best Director | Jane Campion | Won | 
| Golden Globes | Best Supporting Actor | Jesse Plemons | Won | 
| Golden Globes | Best Supporting Actress | Kirsten Dunst | Won | 
| SAG Awards | Best Picture | N/A | Nominated | 
| SAG Awards | Best Supporting Actor | Jesse Plemons | Won | 
| Venice Film Festival | Best Supporting Actress | Jesse Plemons | Nominated | 
Popularity History
| Year | Month | Avg | Max | Min | 
|---|---|---|---|---|
| 2024 | 4 | 30 | 47 | 19 | 
| 2024 | 5 | 31 | 60 | 16 | 
| 2024 | 6 | 24 | 43 | 14 | 
| 2024 | 7 | 39 | 68 | 23 | 
| 2024 | 8 | 27 | 62 | 18 | 
| 2024 | 9 | 18 | 25 | 13 | 
| 2024 | 10 | 26 | 50 | 13 | 
| 2024 | 11 | 33 | 63 | 18 | 
| 2024 | 12 | 23 | 41 | 16 | 
| 2025 | 1 | 25 | 41 | 16 | 
| 2025 | 2 | 23 | 37 | 6 | 
| 2025 | 3 | 9 | 34 | 2 | 
| 2025 | 4 | 6 | 11 | 3 | 
| 2025 | 5 | 4 | 12 | 3 | 
| 2025 | 6 | 3 | 5 | 2 | 
| 2025 | 7 | 2 | 4 | 1 | 
| 2025 | 8 | 2 | 2 | 1 | 
| 2025 | 9 | 3 | 4 | 2 | 
| 2025 | 10 | 5 | 8 | 3 | 
Trending Position
| Year | Month | High | Avg | 
|---|---|---|---|
| 2025 | 10 | 877 | 877 | 
| Year | Month | High | Avg | 
|---|---|---|---|
| 2025 | 9 | 680 | 807 | 
| Year | Month | High | Avg | 
|---|---|---|---|
| 2025 | 5 | 730 | 841 | 
| Year | Month | High | Avg | 
|---|---|---|---|
| 2025 | 4 | 788 | 859 | 
| Year | Month | High | Avg | 
|---|---|---|---|
| 2025 | 3 | 394 | 709 | 
| Year | Month | High | Avg | 
|---|---|---|---|
| 2025 | 2 | 685 | 820 | 
| Year | Month | High | Avg | 
|---|---|---|---|
| 2024 | 12 | 733 | 882 | 
| Year | Month | High | Avg | 
|---|---|---|---|
| 2024 | 11 | 806 | 883 | 
FULL SPOILER-FREE REVIEW @ https://www.msbreviews.com/movie-reviews/the-power-of-the-dog-spoiler-free-review "The Power of the Dog is a thought-provoking, deep study of (toxic) masculinity surrounded by exceptional performances and truly stunning cinematography (Ari Wegner). Jane Campion break ... s her decade-long directing hiatus, returning with an unconventional take on the western genre packed with heavy, rich themes, all developed through emotionally powerful, extraordinary character arcs. Despite the occasionally dull pacing and underwhelming ending, the layered narrative holds numerous interesting topics that Benedict Cumberbatch and co. Approach in incredibly tense interactions through the lingering camera, minimal editing (Peter Sciberras), and contemplative music (Jonny Greenwood). The aimless first half might only be a first-watch issue, but nothing that profoundly hurts the overall piece. An awards contender that I definitely recommend watching, even more than once." Rating: B+
Jane Campion's direction is top-notch, beautifully shot by Ari Wegner, and Johnny Greenwood's score fits like a soft leather glove. But that script - oh so Hollywood and oh so boring!! I want my 127 minutes back. ...
**Full Explanation and Analysis at Spotamovie.com - The Story** - The Power of the Dog, a book written by Thomas Savage in 1967, inspires the film. It’s not your typical western. No guns are involved, but something more complex and psychological. Located in Montana in 1925, two wealthy and different ... brothers, George and Phil, own a ranch.Their lives change when they meet Rose, a widow, mum to Peter, a delicate but intelligent guy. Different personalities and interests generate a hostile environment for all of our characters. After the chaos, the dreamed balance may rise again, but, first, the story will become intense, engaging and exhausting.What will happen between them? Why George and Phil are different? And what is The Power of the Dog? It’s a complex film, full of symbolism, metaphors and psychology. It’s well-directed, excellently performed by the whole cast. And it’s not a case that, as we mentioned above, Benedict Cumberbatch and Kirsten Dunst are in nominations as best actors at the Golden Globe 2022. - **Analysis **here https://www.spotamovie.com/the-power-of-the-dog-explanation-and-review-2021-movie/
The ending does not match the pacing of the the entire film at all. It's almost abrupt - and not in a terribly satisfying way. It could have been 30 minutes shorter if it did less artful shots of wheat or a horse standing. Or at least for less time. It doesn't even really say anything interesting ab ... out it either.
Brothers "Phil" (Benedict Cumberbatch) and "George" (Jesse Plemons) are the bit chalk-and-cheese brothers who own a successful cattle ranch. On a trip to town, "Phil" upsets the owner of the hotel "Rose" (an effective Kirstin Dunst) after he rather cruelly insults her extremely svelte teenage son "P ... eter" (Kodi Smit-McPhee) who had taken some care to prepare intricate paper decorations for their dining table. We don't know how long "George" and "Rose" have been friends, but next thing we know they are married and the pretty unpleasant "Phil" sets out to make her life as miserable as possible. He is never overtly cruel - there is no violence, but mental abuse that sends her seeking solace in the bottle. When her son joins them from school, he fixes him fairly and squarely in his sights too - introducing a hint of homo-eroticism and scheming to the last fifteen minutes that makes you sit up. Again, no action as such - there are no gunfights or fisticuffs, just a cleverly structured denouement that I felt fitting. The pace is really slow, the dialogue pretty laconic, Cumberbatch's accent is all over the place and the score becomes wearisome after a while - the sounds of the constant high pitched violins really did begin to grate. It is a lovely film to look at, plenty of attention to the detail, but it is altogether just a bit so what.
Full review: <a>https://www.tinakakadelis.com/beyond-the-cinerama-dome/2021/12/28/not-quiet-on-the-western-front-the-power-of-the-dog-review<a> The film centers on two brothers, Phil (Benedict Cumberbatch) and George Burbank (Jesse Plemmons) in 1925 Montana. They’re wealthy ranchers who are polar ... opposites. Where Phil is brutal and ruthless, George is kind and quiet. Their relationship splinters when George marries Rose, a widow (Kirsten Dunst). Campion makes you believe that this is where the meat of the movie will be, in this fractured brotherly relationship, and for a while it is. It’s a fascinating look at two versions of masculinity at odds with each other in a world that could be considered the peak of masculinity. I couldn’t help but think of Kelly Reichardt’s First Cow and Andrew Haigh’s Lean on Pete, two lovely movies grappling with the same concept of masculinity in the harshness of the American West.