Don’t go along to The Power of the Dog expecting gunfights at the OK Corral. The setting is the rugged wilds of Montana (even though the movie was shot in New Zealand), the characters are kitted out in chaps and cowboy hats. There’s even a brief appearance by a handful of tame, demoralised Native Americans. Beyond these colourful props lies a dark, claustrophobic psychodrama. It’s Home on the Range by Ingmar Bergman.

When I saw this film at the cinema last week, there was hardly anybody in the theatre. One good reason is that Jane Campion made The Power of the Dog for Netflix, where it may now be accessed from the comfort of one’s lounge room. Another reason is the uncompromising nature of the production. It’s a reserved, distant affair, where the camera seems unwilling to get too close to the actors. When it does, we feel the tension rise like a tremor on a seismograph.