When Jane Campion's The Piano premiered in U.S. theaters in November of 1993, not only was it riding a wave of acclaim that began at that year's Cannes Film Festival, where it won the Palme d'Or, but also a wave of hype for the performance of the film's lead actress. Holly Hunter's role as Ada McGrath was the stuff that Oscarbait dreams are made of. Mute. A single mother in an unforgiving time. Profoundly talented but misunderstood. Not only did Hunter play the piano herself, but she also signed and reportedly taught her onscreen daughter (Anna Paquin) to sign as well. Somewhat rare (or at least rarer than it should be) is when all those Oscarbait ingredients actually add up to something special, and that's what Hunter managed to bring to the table, and likely why she was practically unbeatable throughout the 1993 awards season. For as much as Campion made headlines as only the second woman ever to receive a Best Director nomination (the first to have done so for a film also nominated for Best Picture), it was Hunter who was taking all the trophies home. She even managed to get a bonus "thanks for being you" nomination that same year for The Firm. The Firm! As a sparkplug comic-relief secretary! They loved her that year.
So. An actress arguably at the top of her game, and only in her mid-30s. So why is it that in the 20 years that followed, Holly Hunter has only top-lined three theatrical motion pictures, and none since 1998? Horror stories about what happens to actresses in Hollywood once they turn 40 are myriad, but how we managed to lose Holly Hunter feels more pointed and less fair. In 1995, she headlined two films that debuted in consecutive weeks. The first was Copycat, a psychological thriller with Sigourney Weaver that had the misfortune of coming out in the same fall as Seven. The next week, she starred in director Jodie Foster's Home for the Holidays. Copycat did okay business. Home for the Holidays did a good deal worse. Three years later, Hunter would star in the Richard LaGravanese film Living Out Loud, a romantic dramedy that fairly well bombed. And that was it. No matter that all three films were fairly well-reviewed – and in fact, the latter two have since earned rather passionate bases of support. Three mid-budget "failures" and suddenly the woman who'd given us Broadcast News and Raising Arizona was out of the club.