Con’s Score: 4 Long Lenses
One of the great tragedies of this shutdown is that this film has missed a cinematic release and has gone straight to sale. It’s sad as this is a film many of its audience will miss, and it’s a story that needs to be told.
It opens with a grippingly taught roadside scene where war photographer Daniel Fisher (Hugo Weaving) plies his trade taking photos of victims, and he sets of another one. It sets the tone.
Back in Sydney he’s tracked down by Sebastian, (Andrew Luri) a South Sudanese refugee who wants Daniel to photograph his singing group. They’re so likeable, this crazy twist works.
They develop a friendship, intertwined with the challenges of their changing home relationships with their respective partners. Some of Daniel’s photos are of a massacre in Sebastian’s village, which Sebastian hopes Daniel shelves. He’ll have to admit to some secrets to his wife Anishka (Bolude Watson), while Daniel’s partner Josie (Hayley McElhinney) resents the censorship and intervenes. This threatens to rip the seal off their friendship, relationships and very lives.
This is strong storytelling and works on many levels. It’s about not only about the new migrant experience but it gives a deeper perspective on what they’re escaping. Ultimately this is very much about post traumatic stress disorder (PTSD) without making a fuss about it. It’s well handled, and it means the men’s stories feature, but the female leads have their scenes as well.
Hugo Weaving is his usual excellent tormented self and throws himself into the role. He gives it more than gravitas, and I’m so glad he’s forsaken Hollywood to make movies like this. (It has to be more satisfying than play fighting with Keanu in front of a blue screen.) Hayley McElhinney as his partner navigates her character well, but she isn’t as strong as her talents promise. The real surprises are the two inexperienced African actors: Luri laps up his role and is almost as impressive as Watson, playing his wife. They bring a reality and sincerity to their roles others strive for, even when it goes into melodrama.
Director Ben Lawrence’s and Hugh Miller’s cinematography adds an artistic edge to some shots that make it stylistically enjoyable. It’s dark and moody. Lawrence’s background as a photographer, documentary maker (Ghosthunter) come through in his framing, and his direction is spot on with the actors and script.
I vividly remember this film receiving a standing ovation at the 2019 Sydney Film Festival and the palpable emotion in the room. This is a moving film that deserves a bigger audience. If there’s one thing we need during these contactless times is to touch human experience.
Available for rental and purchase (for $19.99) via iTunes, Google Play, YouTube, Sony PlayStation, Telstra and Fetch TV, followed by DVD release on 3 June.
