Very very predictable, including the post credit scene !!!

Nice effects though.

I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

While it doesn't offer any answers, it both thrills and makes you think.

Determined to have a career and not just be a housewife like so many women of her generation, a headstrong young lady in 1890s rural Australia rebuffs marriage proposals and ignores advice of how to act ladylike in this critically acclaimed drama starring Judy Davis. The film wears its pro-feminist heart on its sleeve, however, it impressively shies away from being angry about the situation for women at the time with Davis more often painted as a hopeless dreamer than a subjugated hero wanting to break free. One's mileage with the film is, however, likely to vary depending upon how one relates to the Davis character. There is certainly a lot to like in the almost childlike dreams she has for a career in the arts, but she more often comes across as confused and uncertain than ambitious and set on changing her fortunes. Several of her not-so-ladylike actions (sitting in trees where men can see up her skirt; pillow fighting) also come across as more whimsical than rebellious and it is harder to cheer on someone just being themselves than someone with a set agenda and values that they are intent on adhering to. It is a minor quibble perhaps, and with accurate period sets and Oscar nominated costumes, the film certainly captures the flavour of rural Australia very well. Sam Neill also has a nice, understated performance as a man who Davis briefly has a romantic fling with and Wendy Hughes is solid as her spinster aunt who has trouble reigning her in, but relating to the main character seems to be key in appreciating what the film has to offer.

Here is a beautiful film, exquisitely realized. Judy Davis heads an excellent cast bringing to life this rich story of an ambitious, head-strong girl seeking a professional career as a writer. In a society where women are not encouraged in these directions, Davis' character rings true in her commitment to her chosen craft.Gil Armstrong's direction is outstanding, as is the lovely photography and production design. The sacrifice necessary for embarking on a career is emotionally realized, and it is made clear such work must be done alone. The artists' life is that of freedom to work and bring forth the creative spark within. When it comes to women at the turn of the 20th century, such a choice isn't easy. The film movingly dramatizes this, along with the status (and plight) of women in general.While it's lovely to hear the theme from Schumann's "Scenes from Childhood," the number of repetitions did tend to become redundant. Otherwise, the musical score is quite effective.A thoughtful, touching film, most beautifully realized.

A lovely, beautifully acted first feature that launched both Judy Davis, who is amazing in this, and director Gillian Armstrong. Its lost a little something revisiting it after all these years. While it's feminist ideals are inspiring and handled with complexity, there's a certain lack of emotion to it. We don't really get the deep bitter-sweetness of choosing loneliness over loss of self. Also, that the film forces that choice seems a bit disingenuous. Nothing about Sam Neil's character that suggests he would repress our heroine – indeed he clearly loves her for the free spirit she is. To really have her need to make an either/or decision 'work' we'd need to go further into the relationship and her psychology. Last, a number of the supporting roles tend towards clichés about both the upper and lower class. And that oversimplifying takes something away from the complex character Davis builds. But all that said, there are beautiful images and magical moments. It just didn't quite hold up to my memories of first seeing it 30 years ago. But if you've never seen it, you still certainly should.

An overlooked masterpiece. Not only did Gillian Armstrong's direction serve the material superbly, but Judy Davis's Sybilla was one of the boldest film debuts I've ever seen. The gasps heard all over the theater when Sam Neill is first seen (from Sybilla's POV in the tree) also made an indelible impression.Perhaps most impressive is the screenplay, which greatly improves on what turned out to be a good novel so dated that it is all the more amazing that anyone ever thought to make it into a film. The musical score was also a delight.Most confusing to me is that it has taken so long for it to be released on home video. A major addition to any thinking film-goer's home library.