---
title: "The Piano"
year: 1993
kind: "film"
canonical: "https://film.one/film/the-piano"
fi1m_id: "the-piano"
imdb_id: "tt0107822"
tmdb_id: 713
wikidata_id: "Q117315"
fi1m_score: 88
critics_score: 92
critics_reviews: 7
published: "2026-09-14"
updated: "2026-09-18T08:38:12.388271+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# The Piano (1993)

Directed by Jane Campion · 2h 00m · MPA R · Drama, Romance

## Identity

The Piano

- **Canonical:** https://film.one/film/the-piano
- **Type:** Film
- **Fi1m ID:** the-piano
- **IMDb ID:** tt0107822
- **TMDB ID:** 713
- **Wikidata ID:** Q117315
- **Same entity:** https://www.imdb.com/title/tt0107822/, https://www.themoviedb.org/movie/713, https://www.wikidata.org/wiki/Q117315

**Fi1m score: 88** · Critics 92 from 7 reviews

*In a sentence:* Holly Hunter makes silence seem a perfectly reasonable response to the nineteenth century

> Jane Campion’s absorbing, unsettling romance gives Holly Hunter a woman whose silence never diminishes her force. Michael Nyman’s music sometimes presses harder than the performances need, but the film’s attention to Ada’s desires makes its intensity worthwhile.

## Synopsis

In nineteenth-century New Zealand, Ada McGrath (Holly Hunter) does not speak, but her silence does not mean she has no wishes of her own. Her story of desire and adultery unfolds alongside those of Alisdair Stewart (Sam Neill), George Baines (Harvey Keitel) and Flora McGrath (Anna Paquin). As passion challenges the restrictions placed on women’s lives, Ada must find ways to make herself understood without speech. Written and directed by Jane Campion, *The Piano* follows her struggle to express what she wants in a society that expects women to submit.

## Review

Jane Campion’s *The Piano* is an absorbing romance, and an uncomfortable one. We recommend it, with a reservation about music that sometimes insists on what the actors have already conveyed. Set in nineteenth-century New Zealand, it takes Ada McGrath’s wishes seriously in a society that grants women little freedom to act on them. Holly Hunter gives Ada enough force to keep the film from settling into the familiar business of admiring a woman’s suffering.

Hunter’s achievement begins with the fact that Ada does not speak, yet never seems beyond our understanding. We can sense the effort of making herself understood, and the anger at having to make that effort, without the performance becoming laborious. We were moved by the anger Hunter puts into Ada’s silence. Campion’s writing allows her to be difficult, and Hunter makes that difficulty understandable without asking us to approve of everything about her.

Anna Paquin gives Flora McGrath a force of her own, holding our attention even against Hunter’s concentrated intensity. Harvey Keitel’s George Baines and Sam Neill’s Alisdair Stewart belong to the same struggle over who gets to want what, and who gets to decide. Neither man is as compelling as Ada, though that imbalance feels earned by Hunter’s performance. Campion lets these competing desires remain awkward, and resists the temptation to make passion an automatic excuse for people’s behaviour.

Stuart Dryburgh’s photography gives the New Zealand landscape a sensuality that makes the repression among its inhabitants seem more severe. The scenery is beautiful, but looking at it is rarely restful; the scale of the surroundings makes the restrictions on Ada’s life feel particularly oppressive. Andrew McAlpine’s production design gives those restrictions a convincing period setting, while Janet Patterson’s costumes reinforce the formality of the society around her. Both work because the people wearing the clothes and inhabiting these surroundings remain so troublesome and alive.

Veronika Jenet’s editing is especially valuable because this is a story that could easily become a succession of charged pauses. The narrative stays readable without making every feeling immediately clear, and its unpredictability does not seem like a trick played on the audience. Michael Nyman’s score gives Ada’s unspoken feelings an urgency that helps sustain the film’s emotional pressure. We understand why the music attracts such praise, though there are passages when its insistence narrows our freedom to respond.

That is our chief reservation: the score sometimes makes an already intense film feel overemphatic. Hunter needs less help than she is given, and we occasionally wanted more space to consider her without being prompted. Yet Campion avoids a familiar weakness of period romances, in which suffering becomes sufficient evidence that a woman has loved properly. Ada’s wishes matter in themselves, and the film remains interested in her even when she cannot be made into an agreeable heroine.

*The Piano* asks for attention to people who are not going to explain themselves neatly. Its severity need not put anyone off: Hunter and Paquin give it enough life to make the effort worthwhile. Choose it for an evening when being unsettled would be welcome.

*Fi1m score 88, published 14 September 2026.*

## What the critics say

Most critics give The Piano an emphatically positive reception, with praise centred on Jane Campion’s direction and Holly Hunter’s performance. The reviews repeatedly credit Campion with making a period love story feel unusual and unpredictable, while exploring repression, desire and communication. Hunter’s portrayal of Ada is a consistent focus, alongside the cinematography and Michael Nyman’s score, which critics describe as central to the film’s sensual and emotional force.

The reviews differ more in emphasis than in judgement, with a narrow spread of positive assessments and no sustained objection emerging. Little White Lies stresses female power and agency beneath the love story, while The New York Times concentrates on the freedom of its romantic imagination. Elsewhere, the emphasis shifts between Victorian repression, physical passion and emotional intensity; these are complementary readings rather than evidence of a divided consensus.

## Straight answers

**Is The Piano worth watching?**

*The Piano* is worth watching for anyone who wants an absorbing, uncomfortable romance built around a woman who does not speak, and we scored it 88. Holly Hunter gives Ada McGrath enough force that her silence never feels like weakness. Our one reservation is Michael Nyman's score, which sometimes insists on feelings the actors have already conveyed.

**How long is The Piano, and what is it rated?**

*The Piano* runs 2h 00m and is rated R by the MPA in the US. It is a drama and romance film.

**Where can I watch The Piano in the US?**

*The Piano* is not on any streaming or rental service in the US at the moment. It is available in 10 other countries; change your country at the top of the page to see where. Availability is checked daily.

**How violent or frightening is The Piano, and is it suitable for children?**

*The Piano* carries a UK 15 certificate and a US R rating, and is a film for adults rather than children. It is a story of desire and adultery in nineteenth-century New Zealand, and the certificate implies sexual content and material some will find distressing. It is unsettling in mood rather than frightening, and its intensity suits patient older teenagers and adults.

**How does The Piano compare to Portrait of a Lady on Fire?**

*The Piano* is the harsher and more troubled of the two, while [*Portrait of a Lady on Fire*](https://film.one/film/portrait-of-a-lady-on-fire) is the gentler and more controlled. Both take a woman's desire seriously and leave room for silence, but Campion's film is louder, with a score that presses where Sciamma's restraint holds back. Choose *The Piano* for an evening when being unsettled is welcome, and Sciamma's film for tenderness.

**What should I watch after The Piano?**

After *The Piano*, try [*Portrait of a Lady on Fire*](https://film.one/film/portrait-of-a-lady-on-fire) (2019, Fi1m 89): Another romance that takes a woman’s desire seriously, with room for silence. Then [*The Heiress*](https://film.one/film/the-heiress) (1949, Fi1m 90): For another woman whose wishes prove inconvenient to the men around her; and [*Brief Encounter*](https://film.one/film/brief-encounter) (1945, Fi1m 90): Repressed desire, difficult choices and music that refuses to stay politely behind them.

### Reviews we read (9)

- **Little White Lies**, Hannah Strong (4/5/5): The review hails the film as a remarkable meditation on female power and agency disguised as a love story, elevated by Campion's understanding of patriarchy and womanhood. It singles out the exquisite performances, particularly Holly Hunter's, and Michael Nyman's soaring score for praise. [Read](https://lwlies.com/reviews/the-piano)
- **Radio Times**, David Parkinson (5/5): This is a superbly staged tale of passion and obsession that excels in its exploration of communication and repression. The critic praises the masterly score, splendid photography, and stupendous performances from Holly Hunter and Anna Paquin. [Read](https://www.radiotimes.com/movie-guide/b-7y88nl/the-piano/)
- **Los Angeles Times**, Kenneth Turan (95/100, inferred): The critic calls the film a tonic that makes a romantic 19th-century story feel avant-garde through fearless visual and emotional command. Jane Campion is singled out for her innate grasp of filmmaking and ability to serve traditional elements without compromise. [Read](https://www.latimes.com/archives/la-xpm-1993-11-19-ca-58357-story.html)
- **The Guardian** (90/100, inferred): The critic finds The Piano a memorable and intense film that exceeds the surrounding hype, drawing audiences into its bold, Bronte-like world in 19th-century New Zealand through outstanding performances, especially Holly Hunter's, and exquisite cinematography and music. [Read](https://www.theguardian.com/film/1993/oct/28/1)
- **The New York Times**, Vincent Canby (90/100, inferred): The critic finds the film a severely beautiful and mysterious love story that lives up to its advance praise and liberates the romantic imagination. Campion is singled out for crafting a seamless, unpredictable narrative centered on an extraordinary mute heroine. [Read](https://www.nytimes.com/1993/11/12/movies/review-film-the-piano-love-story-with-a-twist.html)
- **Empire**, Matt Mueller (85/100, inferred): The review praises Campion's film as a strikingly unusual and arresting parable of adultery and awakening passion, with a knockout central performance from Holly Hunter. It highlights the sumptuous, sensual and visually ethereal qualities along with strong performances, hauntingly beautiful scenery and score. [Read](https://www.empireonline.com/movies/reviews/piano-review/)
- **The New Yorker**, Anthony Lane (85/100, inferred): The review praises the film as a rich, strange, and emotionally powerful work that peels back Victorian surfaces to reveal surreal depths and moves viewers despite its intensity. Holly Hunter’s intense, unvanity-filled performance as the mute Ada is highlighted as essential to its success. [Read](https://www.newyorker.com/magazine/1993/11/29/sheet-music)
- **Sight and Sound**, Lizzie Francke: The critic is overwhelmed by the film's emotional and physical power, describing it as cinema that fills every sense and demands a visceral response. Campion's direction is praised for its sensual, literary sensibility that captures 19th-century repression and female expression beyond language. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/piano-archive-review-jane-campions-realm-senses)
- **Eye for Film**, Jennie Kermode: The critic praises the film for defying convention while maintaining coherence and believability. Hunter's riveting central performance and the passionate sex scenes with Ada's desire at the center are singled out, along with the deft, unapologetic ending. [Read](http://www.eyeforfilm.co.uk/review/the-piano-film-review-by-jennie-kermode)

## Details

- **Director:** Jane Campion
- **Director:** Jane Campion
- **Writer:** Jane Campion
- **Cinematography:** Stuart Dryburgh
- **Editor:** Veronika Jenet
- **Music:** Michael Nyman
- **Production design:** Andrew McAlpine
- **Costume design:** Janet Patterson
- **Producer:** Jan Chapman
- **Cast:** Holly Hunter as Ada McGrath; Harvey Keitel as George Baines; Sam Neill as Alisdair Stewart; Anna Paquin as Flora McGrath; Cliff Curtis as Mana; Kerry Walker as Aunt Morag; Ian Mune as Reverend; Genevieve Lemon as Nessie
- **Runtime:** 2h 00m
- **Certificate (MPA):** R
- **Release (the US):** 12 November 1993
- **Genres:** Drama, Romance
- **Also in:** [Best Picture winners](https://film.one/collections/oscar-best-picture.md) (Nominee, 1993); [BAFTA Best Film winners](https://film.one/collections/bafta-best-film.md) (Nominee, 1993); [Golden Globe Best Drama winners](https://film.one/collections/golden-globe-drama.md) (Nominee, 1993); [Palme d'Or winners](https://film.one/collections/palme-dor.md) (Winner, 1993)
- **Budget:** $7 million
- **Box office:** $40 million
- **Trailer:** https://www.youtube.com/watch?v=IeHHVJGrfpk

## Where to watch in the US

Not streaming, renting or buying in the US at the last check.

Also available in: AT, DE, ES, FI, FR, GB, IE, JP, NO, SE. Add `?region=XX` to this URL for another country.

## Awards

- Japan Academy Prize for Outstanding Foreign Language Film 1995: Japan Academy Prize for Outstanding Foreign Language Film (nominated)
- Academy Awards 1994: Best Cinematography (nominated); Best Costume Design (nominated); Best Director (nominated); Best Film Editing (nominated); Best Picture (nominated); Best Actress (won); Best Supporting Actress (won); Best Writing, Original Screenplay (won)
- BAFTA Film Awards 1994: Best Direction (nominated); Best Editing (nominated); Best Film (nominated); Best Original Music (nominated); Best Original Screenplay (nominated); Best Sound (nominated); Best Actress in a Leading Role (won)
- César Award for Best Foreign Film 1994: César Award for Best Foreign Film (won)
- David di Donatello for Best Foreign Actress 1994: David di Donatello for Best Foreign Actress (nominated)
- Independent Spirit Awards 1994: Best Foreign Film (won)
- Writers Guild of America Award for Best Original Screenplay 1994: Writers Guild of America Award for Best Original Screenplay (won)
- AACTA Award for Best Actor in a Leading Role 1993: AACTA Award for Best Actor in a Leading Role (won)
- AACTA Award for Best Actor in a Supporting Role 1993: AACTA Award for Best Actor in a Supporting Role (nominated)
- AACTA Award for Best Actress in a Leading Role 1993: AACTA Award for Best Actress in a Leading Role (won)
- AACTA Award for Best Actress in a Supporting Role 1993: AACTA Award for Best Actress in a Supporting Role (nominated)
- AACTA Award for Best Cinematography 1993: AACTA Award for Best Cinematography (won)
- AACTA Award for Best Costume Design 1993: AACTA Award for Best Costume Design (won)
- AACTA Award for Best Direction 1993: AACTA Award for Best Direction (won)
- AACTA Award for Best Editing 1993: AACTA Award for Best Editing (won)
- AACTA Award for Best Film 1993: AACTA Award for Best Film (won)
- AACTA Award for Best Original Music Score 1993: AACTA Award for Best Original Music Score (won)
- AACTA Award for Best Original Screenplay 1993: AACTA Award for Best Original Screenplay (won)
- AACTA Award for Best Production Design 1993: AACTA Award for Best Production Design (won)
- AACTA Award for Best Sound 1993: AACTA Award for Best Sound (won)
- American Society of Cinematographers Award for Outstanding Achievement in Cinematography in Theatrical Releases 1993: American Society of Cinematographers Award for Outstanding Achievement in Cinematography in Theatrical Releases (nominated)
- Cannes Film Festival 1993: Best Actress (won); Palme d'Or (won)
- Directors Guild of America Award for Outstanding Directing – Feature Film 1993: Directors Guild of America Award for Outstanding Directing – Feature Film (nominated)
- Golden Globes 1993: Best Director (nominated); Best Motion Picture – Drama (nominated); Best Original Score (nominated); Best Screenplay (nominated); Best Supporting Actress – Motion Picture (nominated); Best Actress – Motion Picture Drama (won)
- London Film Critics Circle Award for Actress of the Year 1993: London Film Critics Circle Award for Actress of the Year (won)
- London Film Critics Circle Award for Film of the Year 1993: London Film Critics Circle Award for Film of the Year (won)
- Los Angeles Film Critics Association Award for Best Actress 1993: Los Angeles Film Critics Association Award for Best Actress (won)
- Los Angeles Film Critics Association Award for Best Director 1993: Los Angeles Film Critics Association Award for Best Director (won)
- National Board of Review Award for Best Actress 1993: National Board of Review Award for Best Actress (won)
- National Society of Film Critics Award for Best Actress 1993: National Society of Film Critics Award for Best Actress (won)
- National Society of Film Critics Award for Best Cinematography 1993: National Society of Film Critics Award for Best Cinematography (nominated)
- National Society of Film Critics Award for Best Director 1993: National Society of Film Critics Award for Best Director (nominated)
- National Society of Film Critics Award for Best Film 1993: National Society of Film Critics Award for Best Film (nominated)
- National Society of Film Critics Award for Best Screenplay 1993: National Society of Film Critics Award for Best Screenplay (won)
- National Society of Film Critics Award for Best Supporting Actress 1993: National Society of Film Critics Award for Best Supporting Actress (nominated)
- New York Film Critics Circle Award for Best Actress 1993: New York Film Critics Circle Award for Best Actress (won)
- New York Film Critics Circle Award for Best Director 1993: New York Film Critics Circle Award for Best Director (won)

## If you liked this

- *Portrait of a Lady on Fire* (2019), Fi1m 89: Another romance that takes a woman’s desire seriously, with room for silence. — [Fi1m page](https://film.one/film/portrait-of-a-lady-on-fire.md)
- *The Heiress* (1949), Fi1m 90: For another woman whose wishes prove inconvenient to the men around her. — [Fi1m page](https://film.one/film/the-heiress.md)
- *The Scent of Green Papaya* (1993): Quiet rooms, close observation and a romance that rewards patient attention.
- *Brief Encounter* (1945), Fi1m 90: Repressed desire, difficult choices and music that refuses to stay politely behind them. — [Fi1m page](https://film.one/film/brief-encounter.md)
- *Bright Star* (2009), Fi1m 82: Campion returns to period romance, allowing affection to develop through ordinary attention. — [Fi1m page](https://film.one/film/bright-star.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-piano