Jane Campion, a New Zealand director, could be said the very important female film-maker since 1990s. Nevertheless, her films receive a little attention. Campion's newest work entitled Bright Star (2009) not only crosses the lines to poetry, biography and British literate history, but also transverses John Keats' 'male' biographical story to Fanny Browne's 'female' love-searching. This article cites the perspectives of film theory and adopts the method of textual analysis to read and interpret this film by three dimensions including visual-audio aesthetics, narrative form and gender image. Meanwhile, it also adopts the method of intertextual analysis and cites The Selected Poems of John Keats and Mandarin subtitle of Bright Star, unceasingly dialogizes with this film. This article compares and debates the procedure of inscribing the poems of John Keats into narrative form, in order to make Bright Star prominent.