sweet country review

This is a repost of our review from Sundance 2018, Sweet Country opens in theaters Friday. Director Warwick Thornton who also made Samson and Delilah has excelled again with this Aussie period Western set in 1929 in the Northern Territory. But this would be a valid point if we were discussing an academic paper or a movie that was made back then. Indeed, much of the tension and structural surprise in this beautifully paced film derives from its many, unexpected switches and reversals of character emphasis — which drive home the sense of a story being told about a far larger community than the one shown on screen, without skimping on individual human detail. When Australian cinema is good ,its usually really good and this one can hold its head high in any cinema in the world. 02/16/2019 A storyline of fiction that mirrors much of what early 20thC Australia was really like for the Aboriginals.

Sweet Country focuses on a community and the circumstances involving an Aboriginal farmer who shoots and kills a white man in self-defense. So, ignore the negative reviews, if you like films it's time well spent! But if you are an educated person then its doubtful. Most fitting on the eve of the last day of freedom for Indigenous people. I've seen the film in the company of two other Australians, they both loved it. a visually stunning outback tale with a message that resonates today, A great movie about the Australian sins of the past, great story, great plot, great cinematography, Those With/Those Without Power In Early 20thC Australia - Excellent Movie, A brilliant study of humanity, not just racism, A 'must-see' sort of film, falls short of being a masterpiece.

January 3, 2018 Simon Hall Film Review 3. Yet the movie has a mythic thrust that’s partly due to its almost playful manipulation of time, its silent flash-forwards lending the story a feeling of futility and predetermination. Tricked into entering tribal lands, the small posse, led by a stoically vengeful Bryan Brown, is repelled by vicious warriors. I've read here two reviews by Australians, one hated the film, the other loved it. Sparse, textured and bleak, director-cinematographer Warwick Thornton’s Sweet Country is a soulful slice of Australian history mixed with the tropes of a classic Western. Theres one reason to see this film, and only one reason...to see the landscapes. I don't know if the film maker meant to delve deeper into our psyches than just showcase racism, or not. Solar Powered Yachts Are Taking Over. But as a story its rubbish. A U.S. woman (Jane Alexander) joins the underground in 1973 Chile against the horrors of its military regime. Wrapping colonialism in the cloak of the western (and revisiting themes explored in his 2010 film “Samson and Delilah”), Mr. Thornton stirs those familiar genre tropes into new patterns. It took me a little while to "get" the presentation of the flashbacks (and in one case a premonition? Thornton’s muscularly panoramic cinematography doesn’t resist the natural splendor of his own native Northern Territory, with its mustardy savannas, glittering salt flats and  solemn rows of bluegums bent like gothic arches. Later, in bullying pursuit of scrappy half-caste child laborer Philomac (jointly played by twins Tremayne and Trevon Doolan), an aggressive confrontation with Kelly lands March a fatal shotgun bullet in the neck.

We, the viewers are here and now and that's the only time and place we can watch it. ". If you were unaware of what happened in Australia's history then maybe you will find this interesting. Variety and the Flying V logos are trademarks of Variety Media, LLC. However the land is no longer that sweet for indigenous man Sam Kelly, who towards the end of the first act kills a "whitefellah" in self-defence, whilst protecting himself and his wife, forcing him to go on the run, through his country.

A very moving film that brought home and really reminded us of the cruel and widely hidden history of this country.

Nor does it turn tables by grandly anointing an alternative hero: Played with stern, aching gravity by Morris, its fugitive demands little more than the freedom to be left alone. An Expert Weighs in With Some Tips, Foo Fighters, Pink, Cher, Jon Bon Jovi to Perform at Joe Biden Virtual Event Tonight. I wasn't a big fan of 'Samson & Delilah', but Warwick Thornton has really nailed it with this one. Diane and I watched this movie this afternoon and were the final two people to leave the theatre. It’s the landscape, however, that first strikes you, more than any one inhabitant thereof. This is the type of film that Australian directors should be making. Sweet Country is a mesmerizing Australian western when it comes to presentation, but is brutal and unforgiving with its message. The characters and events portrayed in the film seem totally authentic, a sense that is heightened by the use of non-professional actors for the indigenous roles (Hamilton Morris, Natassia Gorey-Furber, Gibson John). But it is both sweet for the cattleman on their stations and sweet for the aborigines, the first occupiers of this country, though now frequently confined, as we see later in the film, to tribal reservation areas. FAQ The professional actors (Bryan Brow, Sam Neill, Matt Day) are also excellent.

Stately but universally accessible in its deft genre touches and border-crossing political import, the mostly English-language “Sweet Country” has the makings of an international arthouse talking point, sure to reach far more eyeballs than Thornton’s already healthily distributed debut. Review: 1920s Australia Is No ‘Sweet Country’ for Aboriginal Australians, Natassia Gorey Furber and Hamilton Morris in "Sweet Country. The title comes from how, near the end of the film, one of the white characters describes the tribal land he has crossed.

The reluctance of many Australians to acknowledge the realities of past and present race relations in their country may keep local audiences away. We are both migrants, and that may have clouded our judgment about the film; I believe that many people went as soon as the film ended because they were unsatisfied with what they had sat through; just a passing thought. The movie has a familiar story and simple dialogue, and this is not a problem by any means, yet it's technically impressive. A brutal Australian western filled with beauty and terror. As that was definitely what I expected. In the ever widening divide between colour, cast and creed, director Warwick Thornton takes the traditional setting of a frontier western and builds the foundation for a brutal and angry discourse on racism and savagery. The cinematography in this movie is similar to Mudbound's, but it's even more beautiful! It hurts because the only way we can see it is with our modern eyes. Whatever, 'Sweet Country' deserves to be seen and is highly recommended. To white settlers like Sergeant Fletcher (Bryan Brown), it’s an unspoiled space of opportunity and potential expansion; the Aboriginal locals who work as their servants and stockmen, however, see first and foremost the land that has already been over-developed in their eyes, those vast stretches taken from them, built up and sullied. Saying people thought differently back then, is true but it's beside the point. Should be compulsory viewing for all high school students and used as a starting point for students to explore and examine their local Indigenous history. As a matter of fact, you may feel if you're watching a Terrence Malick film, except it's more fast-paced.

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