Reviews: Jennifer Kent’s powerful The Nightingale

The Nightingale,
Directed by Jennifer Kent
Starring Aisling Franciosi, Sam Claflin, and Baykali Ganambarr

Aussie director Jennifer Kent’s debut, The Babadook, blew me away, and many other audiences around the globe. It didn’t just give us a fascinating, engrossing horror, it had such fabulous emotional complexity to it, matched by some beautiful crafted visuals. It was hard to believe this was the work of a debut director. The Nightingale, Kent’s second feature film, has again left me quite happily astonished at how incredibly confident and assured she is in bringing her vision to the screen and getting the best out of her actors. With great accolades accrued on the international film festival circuit, it is now getting a richly-deserved special edition Blu-Ray release by the good folks at Second Sight, which gives us a great excuse to revisit this powerful and compelling film.

It’s the 1820s in Van Diemen’s Land – what would later be called Tasmania – during the era where the Land Down Under was still being used by the British Empire as a colony built using exported convicts, many of whom would have committed what we would consider tiny infractions (stealing bread to stay alive, for instance), and found themselves sentenced to Transportation to the other side of the world, to a land totally alien to them. It was a cheap and exploitative way for the British authorities to start settling this vast new southern continent (well, new to Europeans who, as usual in history, pretty much ignored the fact that others had lived there for thousands of years already, such was the colonial mindset of the era).

Clare Carroll (Aisling Franciosi) is an Irish convict, in a remote settlement overseen by Lieutenant Hawkins (Sam Claflin). She’s already well past the duration of her sentence, but Hawkins simply won’t sign her release papers. Claflin makes a wonderful job of delivering his Hawkins, a petty man desperate to be The Big Man (he’s clearly relishing the chance to portray such a nasty character). He’s in charge here, but only of a ragged troop of very sorry looking soldiers and a few convicts, taking every opportunity to show his power over them, but painfully aware of his own junior rank by a visiting superior, and that there are others above him who hold power over him as he does over the people below him, and how he hates that.

The Nightingale is not an easy film to watch – its subject matter is fiercely strong, including gender and race issues, violent sexual assaults and brutal torture and murder of Aboriginals, and that content is there from very early in the film, where Clare is forced to sing to entertain the troops before the visiting senior officer (who Hawkins hopes to impress as he tries to gain a promotion), with the drunken rabble leering horribly at her, followed by Hawkins inviting her to sing to him in his quarters, where he forces himself on her.

Franciosi’s acting is utterly remarkable throughout this film – a scene following this rape sees her lying side by side with her baby, telling her stories by the firelight. Franciosi perfectly captures the competing emotions running through Clare; she is smiling for her infant, bonding with her baby, but behind that smile you can see micro-expressions, especially around the eyes, the trauma manifesting itself, that “what just happened to me, how could that happen?” feeling, and you can see her struggling to hold it in check, to be warm and loving and strong for her child while fighting the effects of the brutality visited upon her. It’s a small scene but just one of many where Franciosi’s acting craft is displayed; she clearly cares about her character deeply and wants to convey all the contrasting emotional depths of Clare.

In one of the many extras on this special edition there is an interview with Franciosi, where she reveals how drawn she was to the part. She tells us that Kent had a psychotherapist in the production, and she was free to constantly talk to the therapist about people who had endured traumas and PTSD, how they reacted both physically and mentally, as well as them taking her to visit women in refuges who had been in violent relationships so she could talk to them. She also commented that some of those women found those scenes hard to watch (they are, and they should be), but also pleased that these issues were being raised so viscerally and visibly in a public sphere, because these are not just historical atrocities but sadly a very modern reality for too many (likewise the abuse and murder of Aboriginal people being shown so clearly was also felt deeply by contemporary Aboriginal viewers).

Clare is put through worse, however, driving her into an almost Western-style quest through the outback for vengeance, with Billy – Baykali Ganambarr – as her Aboriginal guide. At first she’s as bad as the English officers and soldiers, seeing “the blacks” as monsters, not human, likely to turn round and cut her throat if she isn’t careful. She even spend the first part of their trek through the forest with her rifle pointed at Billy. As their perilous trip continues they very slowly start to realise how similar they are, how both have been robbed by the brutal, uncaring Powers That Be, with everything taken from them, their lands, their families. Baykali Ganambarr’s performance too is just something else to behold – modern Australia is still coming to terms with the historical abuse of Aboriginal people, and it seems clear this young actor took very seriously the chance to portray some of that history on the screen. A scene where he is treated with some small humanity by an elderly man sees him break down in tears, “this is my land, this is my land…” he weeps as the gentle treatment breaks the emotional dam within him.

These actors are put through the emotional wringer repeatedly, without even so much as a soundtrack to distract from the vicious horrors inflicted upon them, and yes, it is hard to take – it should be hard to take, after all – but ye gods, the acting craft on show here from these young leads is just superb to see, and the way it is constructed and put together so assuredly by Kent I was again constantly reminding myself that this was only her second feature film, and yet here was this immensely powerful subject matter, deftly handled by director and actors, unflinchingly presented with assured hands on the tiller. I’ve got Kent marked down as one of my directors to watch out for in the future. Like Karyn Kusama after watching Destroyer and The Invitation, I now have Kent on my list of film-makers where I will watch any new work they do (and come on, we all love film here, so I am sure many of you also love finding new talent like this too).

This limited edition Blu-Ray release from Second Sight comes with a pile of extras, including numerous interviews (some had to be recorded during the ongoing pandemic and so aren’t shot in quite the way they would be normally, but that’s to be expected in current conditions, and in fact I think kudos go to the Second Sight team for being able to arrange them during these wretched Covid days). I found Franciosi’s interview in the extras to be the most compelling; I said earlier how deep her acting felt to me, and in this extra she revealed a lot of what went into that performance, and also how much it took out of her (I was unsurprised that at the end of filming, emotionally and physically exhausted, she told her agent to hold offers for a while because she needed the rest). All of that performance, that authenticity, that depth of expression and emotion, is all up there on the screen, a testament to the cast and the crew,

The Nightingale is released on a special limited edition Blu-Ray by Second Sight on February 8th. This review was originally penned for Live For Films.

Reviews: Walkabout

Walkabout,
Starring Jenny Agutter, Luc Roeg, David Gulpilil,
Directed by Nic Roeg

During the Lockdown, BBC4 in the UK broadcast David Stratton’s “Stories of Australian Cinema”, a three part documentary on the history and evolution of film-making in that vast, continent-sized country. Naturally one of the films covered was the legendary Nic Roeg’s 1971 movie, Walkabout and I’ve had a strong urge to revisit this film since watching the series. And then Second Sight announced a limited edition Blu-Ray of Walkabout (packed with extras, including interviews with Jenny Agutter and Luc Roeg, in a box set complete with James Vance Marshall’s original 1950s novel), and there I was losing myself in this classic again.

Both then and now there was some debate, not least in Australia itself, around whether Walkabout is really an Aussie film – a British director, US money, but shot in Australia. For my money it is very much an Australian film, not just because of the location, but the way Roeg makes that vast, ancient land an important part of the film. These are not just locations for a scene, the land itself often is the scene, or a strong part of it; the small-scale human interaction within it may drive the actual narrative, but the land itself surrounds everything they do and say, the two English children (Agutter and a very young Luc Roeg as her small brother) in their school uniforms and prim, plummy accents, outsiders in an environment they not only don’t understand but aren’t really equipped to even really try to comprehend, Gulpilil the Aboriginal boy on Walkabout, brought up to respect the land, the stories that go with it, that form his culture and his guide to survival.

The story is essentially pretty simple – the two children, Agutter and Roeg – are stranded in the Outback desert when their father, who has driven them there for a picnic, loses his mind, and attempts to kill them, before setting fire to the car and taking his own life. Agutter hides the suicide from her young brother, grabs some of the food and the two start walking. But they are from a city environment, and a strata of society that back then still had a middle-class that basically tried to recreate the middle-class English existence, there’s no attempt to adapt and assimilate into this other country, it is more an attempt to push a transplanted cultural imperialism onto it, and means they haven’t the faintest idea about the vastness of the Outback, much less how to survive (when they encounter Gulpilil Agutter asks him for water. He doesn’t speak English so she simply repeats herself as if speaking to an imbecile, before muttering that she can’t be any clearer. It’s a polite version of the modern, mono-lingual Brit abroad who thinks if they shout loudly in English the other person will understand them somehow).

The good-natured Gulpilil communicates with them through mime and gesture, mostly with Roeg’s younger brother, the two forming a bit of a bond together. Gulpilil generously helps the pair find water and shares his hunting kills with them, slowly guiding them back towards their own world after some shared travels. You could see it as strangers in a strange land fable, as a coming of age story (especially Agutter and Gulpilil, the two teens on the cusp of adulthood and all that brings with it), or as a survival story, or a mix of all three. And indeed yes, Walkabout is all of these things, but really, those are just the skeletons the film is draped over.

No, the real essence of Walkabout isn’t really those elements, it is a wonderfully-realised dream-like state, using clever imagery, symbolism and cross-cutting and editing, to create an atmosphere and imagery that is as rich as the Outback environment itself, a filmic version of the ancient Songlines and Dreamtime of Aboriginal culture, sometimes languid, like the dream of a half-waking doze on a warm day, sometimes sudden, even violent, mixing Aboriginal culture (Gulpilil, already an experienced dancer despite his young age here, crafts an intoxicating scene entirely through traditional dancing) and allusions to the Garden of Eden, innocence and its loss, nature and the urban.

This isn’t a film that is easy to review, because it’s more than a film, Walkabout is an experience, a waking dream on celluloid that can be shared, and how each of us reacts to those images and sounds will be different. It is a film to lose yourself in, to drink in those rich images, that landscape and nature. A commercial flop on its original release, it remains an important film, lauded by many critics and the BFI as a classic – it helped to kickstart the new wave of Aussie film-making which has gone on to enrich world cinema (something we here obviously care deeply about), and it launched the then-young Gulpilil onto a career which has seen him become an iconic figure in Australian cinema. If, like me, you haven’t seen this film in a long time, this is a very welcome chance to revisit this moving dream of a movie; if you haven’t seen it before then sit back and let this classic wash over you with its rich imagery.

Walkabout will receive a limited edition Blu-Ray release from Second Sight from 27th August

This review was originally penned for the Live For Films site.

Kangaroo: a Love-Hate Story

Kangaroo: a Love-Hate Story,
Directed by Kate McIntyre Clere and Mick McIntyre

Kangaroo has been doing the rounds on the international film festival circuit, receiving quite a bit of acclaim, and now with it being eligible for the 2019 Oscars they are making a push to get it noticed a bit wider by cinema-goers (and the Academy, the old “for your consideration”), which is how yours truly managed to get a screener to watch. And although this is very, very hard to watch in places, I am glad I had the chance to see this Australian documentary. As the film-makers and others point out early on there is a real dichotomy in the image of the kangaroo – it is the national symbol of Australia, it’s on their coat of arms, that sports-mad nation nicknames many of its teams after roos. And yet they slaughter millions of these animals every single year.

Not just slaughter, but killed often in the most disgustingly inhumane ways. Make no mistake, although this is a compelling documentary, you will need a strong stomach in certain parts of this film, it does not pull many punches in depicting just what goes on, nor should it – one of the central points here is that so many, in Australia and around the world where roo products (meat, leather) are exported, are totally unaware of what is happening, aided by a complacent government that seems to be in cahoots with a wealthy, multi-million dollar industry (and isn’t that something we’ve seen all too often in many different industries in many different countries? Strange how easily morality and decency can go when big money is involved). There are some stomach-churning scenes filmed by activists who are determined to break that cover, bring these practises out into the light – literally, as most of the hunting is done at night.

The law says any kangaroos “harvested” need to be killed swiftly and humanely, as you’d expect from similar standards in any animal food industries – we all, rightly, get sickened and outraged if cattle, pigs and sheep are made to suffer before the inevitable abattoir date and we have built up laws to protect the animals from such needless suffering. But shooter firing at night from a truck bumping over rough terrain and firing at a moving target often miss. Many roos are hit but not fatally, some take hours, days or in one case the crew documents, two weeks to die. Two weeks of agony and suffering. And that’s not the worst – there are the baby Joeys, the mothers shot, the baby still alive but helpless. The hunters take the baby animal and swing it by its hind legs, dashing its head on the nearby Ute (that ubiquitous Aussie truck), or in one especially sickening scene, the man stands on a tiny infant Joey after pulling it from the pouch of the dead mother. Yes, I did warn you, there are some stomach-turning scenes here. I’m an old horror fiend, grew up in that first wave of unregulated “video nasties”, and can take all sorts of gore on film. If it is fictional. Seeing it inflicted on an animal for real. Not so much.

The film doesn’t use these tactics just as shockers to get your attention and raise your awareness though, it is quite clear how stressful and disturbing this is to the film-makers and to the activists who are gathering this evidence, often at the risk of their own life. One couple who film and collect evidence bought land as a preserve for wildlife, but the law allows neighbouring farmers to drive onto their land and kill roos legally. Yeah, imagine a bunch of gun nuts on a truck in the dark of an outback night driving right past your house on your ground firing away and imagine not just the animal slaughter on your own property but how easily that could end in a human tragedy too. They gather evidence in film and, gruesomely, in body parts, that are then examined by vets to prove violations of the hunting rules. The government has largely ignored such evidence before, but with green politicians getting into office now they have politicians who are able to highlight this evidence, and as well as taking it to Aussie authorities, media and people to expose the reality, they take it to other countries who import kangaroo products, which hits the industry where it hurts (suddenly big sports stars like Beckham find out their footie boot leather came from kangaroos and how they were killed, and the major companies like Adidas, unsurprisingly, soon also decide this is not good).

Maybe you aren’t an animal lover and are wondering why you should be bothered. There is more here than just respect for nature and animals though – the big industry sways government policy (you know, governments, who are meant to represent the people, not corporations) and attempts to do similar abroad (one sequence shows some rather underhand shenanigans as they try to influence Californian politicians to lift a ban in imports). And then there is the health question – the roo meat for human consumption does not get the same strict hygiene rules that beef or pork does. The shooters drive through the outback at night, shoot a roo, hang it on the back of the Ute, gut it then and there (another pretty awful scene to watch – blood, knife, innards and bolt-cutters for those strong legs. Yes, shudder), then drive on looking for more. They all have to be shot between dusk and dawn when it is cooler, but as this is allowed at night it can regularly be over 30 degrees centigrade. And it takes all night to fill the truck, so imagine all those corpses hanging in that heat for hours before being driven some distance to the nearest refrigerated storage chiller. Driven in heat on dusty, fly-ridden roads while exposed to all of that contamination and heat, spoiling away. Independent studies of roo meat on sale in shops showed high levels of salmonella and e.coli. So even if you don’t care about animal welfare and enjoy your red meat, you should be worried about this.

It’s often a hard film to watch, there are some truly disturbing scenes, but that’s part of what makes this such a powerful documentary, and the way it covers the other strands, from the big industry-government collusion, the media buying unquestioningly into the much-peddled lies (“they are vermin and need to be exterminated”, “upsetting the natural balance”), the clearly dodgy “science” government agencies use to “prove” animal numbers (which don’t stand up to even basic logical scrutiny) and the public health threat is well handled and gives a rounded picture, rather than simply dwelling on the hideously huge slaughter. The fact much of this is beautifully shot, taking in that astonishing Australian outback and the gorgeous, iconic animals themselves adds a powerful contrast to the more disturbing scenes, while the film itself lays bare not just the monstrous slaughter (millions of animals a year) and the inhumanity of it, but asks upsetting questions about just how humans, as a species, see the natural world as a resource to be used and consumed.

This review was originally penned for Live For Film

Evil bastards


Japan is unhappy with Australia. Why? Because of pictures released showing the hideous slaughter their whaling fleet inflicts on harmless animals for ‘scientific research’ – said research seems to consist of proving that shooting a large mammal with an explosive harpoon causes a long, slow, lingering, painful death and that you can cook the bits later for food (although actually there is some research which says they can hardly give whale meat away in Japan, so why they pursue this slaughter is beyond all comprehension and one is left to think those responsible are just evil bastards). One set of images taken clearly shows the swines killing a mother and a calf then dragging their carcasses up into their mobile concentration camp ships.

These pictures didn’t come from Greenpeace, they came from observers in a team of Australian customs officers.

It is explicitly clear from these images that this is indiscriminate killing of whales, where you have a whale and its calf killed in this way… And to claim that this is in any way scientific is to continue the charade that has surrounded this issue from day one…” Peter Garrett, Australian environment minister.

Japan’s state-supported Institute for Cetacean Research (where they research whales by killing them slowly and chopping up their carcasses like some sea-going Jack the Rippers) has claimed that releasing these pictures “created a dangerous emotional propaganda that could cause serious damage to the relationship between our two countries.” Well no argument on the first part – it does create emotions but I can’t help but think they are more worried about being seen by the entire world committing these atrocious acts than anything else. They were caught out slaughtering a mother and calf on camera. There’s no excuse for that. And to then try and blame Australia for showing what these bastards were more than happy to do when they thought no-one would notice is just plain cowardice. Then again, this is a country that still likes to pretend they didn’t engage in systematic torture, rape, murder and even using humans as guinea pigs for chemical warfare experiments during the Second World War. Maybe Japan needs to have evidence shoved in its nose and be made to see what the hell it has done.

I’ve got a great idea for some maritime ‘scientific research’ – let’s see scientifically what happens when we fire torpedoes into a whaling ship…