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That she desperately needs his help, but also spends the first hours of their acquaintanceship pointing her rifle at him, does little to assuage his distrust.Īs with The Babadook, Kent both maintains an unrelenting sense of dead throughout and uses it to sensitively explore the aftereffects of trauma.Ĭlare and Billy’s friendship is suitably spiky and full of mutual distrust. Having seen so much bloodshed firsthand, he can’t help seething at Clare, whom he justifiably sees as an invader of his land (even if she was taken there against her will). Unlike many of the other natives, Billy speaks English-a consequence of his kidnapping as a child by the white men who killed his father and brothers (a biography that serves as an instance of, as well as a synecdoche for, the British colonization of Australia). However, as Clare and Billy begin to understand each other, The Nightingale eventually reveals itself to be, as Kent has described it, a colonial revenge film.

The Nightingale thus appears, at first glance, to be a standard rape-revenge movie, though it becomes most interesting when it subverts the conventions of that male-director–dominated genre by exploring what it would actually feel like, emotionally and even bodily, to confront someone who did such monstrous things to you. Dozens of attendees at the Sydney Film Festival walked out during screenings in June, with one female moviegoer reportedly overheard saying, “ I’m not watching this, she’s already been raped twice.” With The Nightingale being released in the United States at the same time that audiences are flocking to the latest Quentin Tarantino film, which turns another set of real-life massacres into an excuse for a buddy comedy, it seems worth asking what kinds of violence we’re willing to accept on our screens and why. For some audiences, Kent’s gaze is too resolute. Set in a penal colony off the coast of Australia in the early 19 th century, the period thriller takes an unflinching look at the violence enacted and enjoyed in the name of colonialism, sexism, and classism, among other injustices.

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Like a single rose emerging from a sea of barbed wire, the eventual friendship at the center of The Nightingale, Jennifer Kent’s first movie since the instant horror classic The Babadook, is far more improbable than the brutality surrounding it.

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The Best Movies and TV Shows Coming to Netflix, HBO, Amazon Prime, and Hulu in September The Perfect Memorial to Jean-Luc Godard Appeared Three Days Before He Died Her dark song lifts us all.I Saw the “Trans Joker Movie” That Might Never Be Seen Again. ‘You can’t kill what’s already dead,’ Clare says at one point. Throughout all the persecution and trauma, there’s resilience and the promise of a new dawn. But, remarkably, against all odds, the film is not without hope.

This is a world gone wrong, where innocent settlers are slaughtered in their sleep, genocide is a casual trigger-pull, and death means a dozen stabs in the chest followed by a dozen blows to the face. ‘The Nightingale’ isn’t a ghost story, but its characters are deeply haunted. And so begins a dark journey into the unmapped wilds of Van Diemen’s Land, where white devils plunder with impunity while a devastated young woman and her chronically debased guide feed their surging rage against a racist, patriarchal status quo. Left for dead, Clare is transformed into an avenging angel, enlisting a shrewd Tasmanian tracker named Billy (Baykali Ganambarr, sly and spiky) to help her hunt down Hawkins and his crew. After learning that his only chance at promotion is a four-day trek to personally petition his superiors, Hawkins spitefully obliterates any chance of Clare’s happiness by attacking her and her family. The local sadistic commander, Lieutenant Hawkins (Sam Claflin), helplessly infatuated with Clare, taunts her with the promise of freedom along with his special brand of toxic, self-loathing abuse. Newlywed mother Clare Carroll (Aisling Franciosi of ‘Game of Thrones’, hypnotically fierce), a convicted Irish street urchin sent to a Tasmanian penal colony, sings for randy, rum-soaked soldiers when she’s not suffering derision as a scullery maid. If you thought Jennifer Kent pulled no punches in her terrifying supernatural debut ‘The Babadook’, brace yourself for the existential evil that lurks in the hearts of men – not figures out of a children’s storybook but a keenly observed sense of historical place. You’ve been warned. Brutal is too soft a word to describe ‘The Nightingale’, a brilliantly harrowing indictment of white male oppression set in British-ruled Australia circa 1825.

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