In my week focusing on Australian films, I’ve already covered some modern classics including Aboriginal director Tracey Moffatt’s beDevil (1993) and a number of documentaries interrogating Australia’s colonialist and racist societal dynamics, notably Another Country (2015). Warwick Thornton is probably the most prominent director from an Aboriginal background currently working in the country, and over the course of a number of short films and two features has burrowed into this history, stepping back to the 1920s with his most recent feature Sweet Country.
The source for this film was a collection of short stories by the Australian writer Tim Winton, so the producers took the decision to make it a collection of short films, each directed and written by someone within the Australian arts world. Therefore you wouldn’t really expect it to hang together so well, but somehow — perhaps thanks to the strength of the underlying short stories — there’s definitely a thread that connects them all, not just thematic but in tone, too. There’s a sort of understated elegiacal atmosphere, of pregnant pauses and long lingering shots of the sky: this is a film very much invested in a vision of its part of the world, with laconic and weary characters. Each shares a story that deals with some kind of turning point in their lives, quite often young lives, but not exclusively. And despite the number of different works, there’s nothing that really stands out as particularly weak or out of place, given that sense of unity I mentioned earlier, though there’s one brief animation that opens the film (“Ash Wednesday”), a contemporary dance piece towards the end (“Immunity”) and another short film takes the form of almost documentary-like testimonies rather than acted scenes per se (“Boner McPharlin’s Moll”). It adds up to a strange, compelling view of Western Australia, though one that runs rather long.
1. Ash Wednesday (dir./wr. Marieka Walsh); 2. Big World (dir./wr./DoP Warwick Thornton); 3. Abbreviation (dir./wr. Jub Clerc, DoP Geoffrey Simpson); 4. Aquifer (dir. Robert Connolly, wr. Justin Monjo, DoP Denson Baker); 5. Damaged Goods (dir. Anthony Lucas, wr. Kris Mrksa, DoP Jody Muston); 6. Small Mercies (dir./wr. Rhys Graham, DoP Stefan Duscio); 7. On Her Knees (dir./wr. Ashlee Page, DoP Miles Rowland); 8. Cockleshell (dir. Tony Ayres, wr. Marcel Dorney, DoP Germain McMicking); 9. The Turning (dir./wr. Claire McCarthy, DoP Denson Baker); 10. Sand (dir. Stephen Page, wr. Justin Monjo, DoP Bonnie Elliott); 11. Family (dir. Shaun Gladwell, wr. Emily Ballou, DoP Jeremy Rouse); 12. Long, Clear View (dir./wr. Mia Wasikowska, DoP Stefan Duscio); 13. Reunion (dir. Simon Stone, wr. Andrew Upton, DoP Andrew Lesnie); 14. Commission (dir./wr. David Wenham, DoP Andrew Commis); 15. Fog (dir./wr. Jonathan auf der Heide, DoP Ellery Ryan); 16. Boner McPharlin’s Moll (dir./wr. Justin Kurzel, DoP Andrew Commis); 17. Immunity (dir. Yaron Lifschitz, wr. Circa Contemporary Circus, DoP Robert Humphreys); 18. Defender (dir./wr. Ian Meadows, DoP John Brawley); Writers as above (based on the short story collection by Tim Winton); Length 172 minutes.
Seen at home (DVD), London, Sunday 3 May 2015.