Jindabyne - Irgendwo in Australien

Jindabyne is in the southeast corner of New South Wales, Australia. A disturbed man kills a young aboriginal woman. Stewart Kane (Gabriel Byrne) and Claire (Laura Linney) have issues in their marriage. Stewart goes on a fishing trip with his friends Carl, Rocco, and Billy. Stewart finds the dead woman's body near their campsite. The men decide to continue fishing for the rest of the weekend.

The movie is trying to include a lot of stuff. The best that I can distill this into is a moral decay and callousness. Stewart and Claire are struggling with a loss that has sapped their joy. She discovers that she's pregnant. The crazy man ranting about electricity just adds to the generalized sense of unease along with the constant haunting music. It starts as an eerie murder mystery. If there is any scene that could galvanize the entire movie, it is Stewart discovering the body. The movie needs to spend more time with the four men discussing what to do. This movie needs clarity. The characters leave a lot unsaid which is frustrating. It's also a missed opportunity. Later, the movie tries to play the race card. In order for that to work, it needs to be set up better. For non-locals, it can come out of nowhere. This movie needs to concentrate on the primary issue and focus on it. Maybe the movie should start with the fishing trip first. It also brings back the crazy man which leaves the movie ending unsatisfying. This movie has a lot to say. It may be too much.

This is a 'typical' Ray Lawrence film. Similar in its dark view of the world, to his earlier 'Lantana'. The same slow, deliberate, menacing pace, drawing out evil in every corner ("shades of David Lynch's Twin Peaks" here). Our good ol' boy Aussies (one a transplanted Irish), on a weekend trout fishing trip away from their wives, 'park' the corpse of a murdered woman they discover floating in their stream. They continue with their fishing, not reporting the find until leaving the site - for which they are intensively and unremittingly attacked by all and sundry on their return. The fact that the dead woman is an Australian Aboriginal person adds to the 'political' impact of their offense. Through all this, the real serial killer (who we see from the first scene) hovers menacingly nearby.

An interesting, if somewhat cynical, view of the highly charged inter-racial atmosphere in the Australian community: white guilt and 'political correctness'. Who are the real villains here? Our 'politically incorrect' (and morally vacuous) protagonists? Or the murderer? Accoring to Lawrence, the former, apparently.

Taught and tense throughout, the film lacks a real resolution, opting instead for a rather 'weak' ending through the redemption of the fishers.

With no fault to the actors (they all put on great performances), the overall story was not very well executed. The movie opens with a great zinger: a crazy old guy forces a young Aborigine girl's car off the road. But then, we're forced to endure 40 minutes of character development with an entirely new group of characters ... and we don't know why until the 40 minutes are up. It turns out that they are the ones who eventually discover the girl's body ... and the story progresses from there.

While the story does pick up at that point, it really goes nowhere. After 2 hours, I asked myself: was there a point to this, or was it just to see the characters struggle with accusations of racism and stupidity of how they handled the discovery? The story was ultimately unsatisfying and felt unfinished. While it is well acted, there's not a strong enough backbone in the film to warrant recommending it.

Jindabyne is a profound art house crime/thriller/drama set entirely in an the isolated Australian town of Jindabyne, starring Laura Linney (Love Actually, The Exorcism of Emily Rose) and Gabriel Byrne (Spider).

An Irishman (Bryne), living in Australia with his American wife (Linney), is on an annual fishing trip, with four friends, when they come across the murdered body of a young Aboriginal woman (Tatea Reilly). Having looked forward to their trip for so long, the friends decide to leave the woman alone and report her to the police once their trip is over. Much to the disgrace of their wives, the community and the Aboriginal tribe.

I'm going to try and review this without giving it all away, but this is another very interesting and unusual thriller in so many ways. For a start, the majority of the film focuses on Linney and Byrne's marriage and the young girl's murder acts as a sort of subplot. Secondly, the director, Ray Lawrence (who has only directed two other films in the last 22 years), filmed all of it in natural light IE no fake lighting was used throughout.

The script by Beatrix Christian, adapted from the short novel 'So Much Water So Close to Home', on which the film is based, is also written in an unusual way. For instance,, the film is chronologically told, yet none of the scenes are linked – nearly all of the scenes (at least in the first half) are random anecdotes of Linney and Bryne's family life. One criticisms I'd give the script would be that although it is obvious Bryne is Irish and Linney is American, it is not explained as to why they are in Australia. Another criticism, in general, is that although we are supposed to believe that the men are so desperate to fish – they are even willing to ignore a dead woman's body – this is not emphasized enough in the acting, script of direction. Because of this, I didn't sympathize with Bryne's character as much as I could have done.

Laura Linney and Ed Byrne are pretty much the only two actors who are recognizable to international audiences, out of the very large cast. Both are brilliant in their roles, particularly Linney proving once again she is one of Hollywood's more overlooked actresses.

The film is worth seeing for so many reasons: brilliant acting from the entire ensemble cast, it's intriguing direction, unusual storyline and its accurate insight into the Aboriginal religious practices.

This is an intriguing, evocative and multilayered film superbly acted and wonderfully filmed (mostly in single takes, it seems). It is also rather slow and meandering, and problematic. The basic plot could be set almost anywhere – failure of personal relationships in the context of a failure of civic duty, but Ray Lawrence has chosen to adapt Raymond Carver's short story of the fishermen who took their time over reporting finding a woman's body to a highly specific place, Jindabyne, NSW, and to include the vexed question of black/white relationships in Australia.

As is pointed out in one of those awful cheery 1960s documentary being shown to the kids in the local primary school, the present day Jindabyne is a "second chance" sort of place, the old town having disappeared under the waters of Lake Jindabyne during the creation of the Snowy Mountains Hydro Scheme, though at very low water levels the old church steeple is said to poke out of the water. Unfortunately, as we are shown in the opening sequence there is still evil in the new town in the shape of the local electrician (Chris Heywood, very nasty), who likes to hunt and kill young women. It is his victim's body the four fishing buddies, Stewart, Carl, Rocco and Billy, find in the stream, tie to a log, fish for a day, and then the next morning decide to raise the alarm.

When it becomes public that the four delayed reporting their find to go fishing (why didn't they lie about when they found the body?) there is a predictable uproar. The dead woman was aboriginal and the local aboriginals are particularly upset since they see this as symptomatic of whitey attitudes). Rocco's aboriginal girlfriend is not impressed. But the greatest emotional impact falls on Stewart (an Irishman) and his American wife Claire whose relationship is already rocky.

At one point I thought Claire was going to crack the case, but instead we get a literally hazy scene where some kind of reconciliation between black and white is attempted. After seeing the superb "Ten Canoes" recently I found the whole aboriginal storyline contrived. What I did think was very powerful and affecting was the portrayal of a damaged marriage. Gabriel Byrne does not put a foot wrong as Stewart, an ordinary bloke resigned to what little emotional comfort he can get from his family, and Laura Linney gives great depth to her role as his wife Claire, a woman for whom motherhood is a daunting task.

The rest of the cast are fine. Debra-Lee Furness as Carl's wife Jude makes a dislikeable character understandable, John Howard as Carl puts in a solid performance and there are two good performances from child actors Eva Lazzaro as Jude's disturbed granddaughter, and Sean Rees-Wemyss as Stewart and Claire's son Tom.

Ray Lawrence clearly did not set out to create a crime story but he certainly shows that crime can have some unexpected collateral damage. He also has contributed to the "Cinema of Unease", a phrase Sam Neill once used to describe New Zealand cinema, by setting a story about personal and public guilt in such a glorious setting.