The full list of my favourite films of 2022 is here but I’m posting fuller reviews of my favourites. This Australian revisionist western film by an Aboriginal woman director, writer and star came out at festivals in 2021, but I caught up with it on a flight (it would fill a big screen though, and for some reason in my mind that’s where I saw it). Not a perfect movie, but it had a lot that I really liked.
I suppose that, strictly speaking, this isn’t a Western (because it’s not set in the American West, or even the West of Australia) but it shares a lot of characteristics with those kinds of frontier dramas, where (white) settlers are put in precarious situations due to their low socioeconomic status and lack of protections afforded by ‘opening up’ a country not previously inhabited by them. But as this film knows all too well, that kind of work doesn’t lead to great outcomes for indigenous populations, and while it’s based on a classic 19th century Australian short story, it’s also very keen (being written and directed by an Aboriginal woman director) to strike out in a new direction that can acknowledge the complicated history and stories being interwoven here. Which is all by way of making it sound pretty dull and well-meaning, when actually this has a lot of the striking widescreen compositions and tense drama that the best of the Western genre brings, plus some excellent lead performances from the director herself in the title role, plus Sam Reid as a well-educated indigenous man who come across her cabin and who she tries to help. By the end I felt invested in the story, even if not every element worked so well for me (the music had a tendency to push a little hard at times).
Director/Writer Leah Purcell; Cinematographer Mark Wareham; Starring Leah Purcell, Rob Collins, Sam Reid; Length 104 minutes.
Seen in flight from Auckland to Nouméa, Saturday 8 October 2022.