Jennifer Kent (The Babadook) is an evolving director. Shifting the focal point of trauma from monsters that lay in wait beneath your bed to the sociopolitical horrors of our collective pasts (colonial-era Tasmania is the setting here), Kent tells a rape-revenge western that explores the loss of power and the power of loss. The story of a woman hunting the man who raped her and killed her husband and baby is well over two hours but there wasn’t a moment that I was not glued to the screen. Kent’s second is a distinctively difficult feature, savagely blunt but not also without its nuance and beauty. Aisling Franciosi and Baykali Ganambarr weave understated human compassion into characters separated by entrenched racism, with the Irish convict and aboriginal tracker banded together to seek retribution. Striking cinematography from Radek Ladczuk casts the often brutal imagery in gorgeous natural lights; luminous and ruminant, even through the darkness. (A-)
A SIFF 2019 Capsule Review
[READ MORE: The 100 Greatest Horror Films of the Decade including Jennifer Kent’s ‘The Babadook‘]
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By: Matt Oakes
Started blogging about film in college when the university paper wouldn’t have him. Dislikes your consensus film Twitter favorites. Devotee of horror movies that make him die a little inside. Catches films at festivals when he can. Proud SFCS and OFCS member and Tomatometer-approved critic. Editor-in-chief of Silver Screen Riot.
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