--- title: "The Piano: the reviews" canonical: "https://film.one/film/the-piano/reviews" title_page: "https://film.one/film/the-piano" critics_score: 92 critics_reviews: 7 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): what the critics said Critics' score 92 from 7 reviews: 7 positive, 0 mixed, 0 negative. 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. ## Little White Lies — Hannah Strong Rating 4/5/5. 15 June 2018. 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 the review](https://lwlies.com/reviews/the-piano) ## Radio Times — David Parkinson Rating 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 the review](https://www.radiotimes.com/movie-guide/b-7y88nl/the-piano/) ## Los Angeles Times — Kenneth Turan Fi1m's normalised score 95/100 (inferred from the text). 19 November 1993. 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 the review](https://www.latimes.com/archives/la-xpm-1993-11-19-ca-58357-story.html) ## The Guardian Fi1m's normalised score 90/100 (inferred from the text). 28 October 1993. 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 the review](https://www.theguardian.com/film/1993/oct/28/1) ## The New York Times — Vincent Canby Fi1m's normalised score 90/100 (inferred from the text). 12 November 1993. 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 the review](https://www.nytimes.com/1993/11/12/movies/review-film-the-piano-love-story-with-a-twist.html) ## Empire — Matt Mueller Fi1m's normalised score 85/100 (inferred from the text). 1 January 2000. 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 the review](https://www.empireonline.com/movies/reviews/piano-review/) ## The New Yorker — Anthony Lane Fi1m's normalised score 85/100 (inferred from the text). 22 November 1993. 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 the review](https://www.newyorker.com/magazine/1993/11/29/sheet-music) ## Sight and Sound — Lizzie Francke 19 June 2018. 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 the review](https://www.bfi.org.uk/sight-and-sound/reviews/piano-archive-review-jane-campions-realm-senses) ## Eye for Film — Jennie Kermode 14 May 2012. 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 the review](http://www.eyeforfilm.co.uk/review/the-piano-film-review-by-jennie-kermode) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Our review: https://film.one/film/the-piano.md