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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.

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.

I recently saw Jindabyne in Cannes and it is a brilliant movie. Thanks to a wonderful cast and Ray Lawrence the script comes alive on the screen.

Four fishing buddies find a dead girl in the river. They don't report their find until a few days later. This causes anger and disappointment from their families and the rest of the town; reactions they don't seem capable of understanding.

Byrne and Linney, especially, turn every line and every second into an intense moment. They're human beings, and it shows. You understand why their characters act like they do, but you don't always accept it.

There are similarities between Ray Lawrence's "Jindabyne" and his last movie "Lantana" – a dead body and its repercussions for already dysfunctional lives. But whereas "Lantana" offered some hope and resolution, "Jindabyne" leaves everything unresolved in a bleak way that will leave most viewers unsatisfied, perhaps even cheated.

The storyline - the aftermath of a fisherman's discovery of a corpse floating in a remote river - is based on a short story by Raymond Carver. It became an element in Robert Altman's classic 1993 ensemble "Short Cuts". Lawrence uses this theme for an exploration and exposition of relationships within a small Australian community under stress. The movie poses some moral questions "Would you let the discovery of a dead body ruin your good weekend?" and more poignantly for Australians "Would it make any difference if the dead person was an aboriginal?" The acting, especially by Gabriel Byrne and Laura Linney, is commendable. And there are elements of mysticism reinforced by haunting music, not unlike "Picnic at Hanging Rock".

If all this sounds like the basis for a great movie - be prepared for a let down, the pace is very slow and the murder is shown near the beginning, thereby eliminating the element of mystery. And so we are left with these desolate lives and a blank finale.

A fishing trip gone bad is one way of looking at JINDABYNE, but then you would miss the whole mystery of this film and how it examines the lives of others in a small Australian town, which on the surface may seem perfect. But in JINDABYNE you soon learn that beneath the ripples of the lake lie other factors which swirl to the surface and create a fascinating film and story. The wind whipping through the trees and the power lines that dot the hills make for a perfect background for this film.

Laura Linney, once and again, and Gabriel Byrne are two superb actors that make JINDABYNE come alive with strong performances, as well as from a seasoned cast. JINDABYNE offers us a film of human tragedy, as seen from both sides of the racial coin, and is a very timely film with all the evils that go on within today's global stage. In Ms. Linney, her face always mirrors a million emotions, and Mr. Byrne is the perfect foil for a marriage with issues. The final scenes are powerful and leave you with a question of, "what now might Jindabyne be in the near future?" However, with that said, I felt the film could have been edited a bit more tightly, and not taken so long with the development of characters and the build up to the final conclusion. But in watching the face of Laura Linney and her inner expressions, along with the writing, one can forgive the length of the film.

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.

JINDABYNE is a disturbing, somber little film from Australia - a film with profound observations about ethics, racism, the fragility of marriage, the vulnerability of children's minds, and the desperate need for respect for beliefs and peoples outside the mainstream. Beatrix Christian adapted the screenplay from one of Raymond Carver's brilliant short stories, 'So Much Water So Close to Home': it has been said that Carver had 'the ability to render graceful prose from dreary, commonplace, scrapping-the-bottom human misery' and this story embodies all of those traits. As directed by Ray Lawrence with a cast of excellent actors, JINDABYNE will likely become a classic movie - if enough people will take the time and commitment to see it.

In a small town called Jindabyne in Australia a group of four men depart their families for a fishing trip: Stewart Kane (Gabriel Byrne), Carl (John Howard), Rocco (Stelios Yiakmis) and Billy (Simon Stone). While fly fishing in the back country, Stewart discovers the nude, murdered body of a dead Aboriginal girl Susan (Tatea Reilly) floating in the water, calls his buddies to witness the ugly act, and together they decide to wait until their fishing trip is over before reporting it.

When the men return home, concerned and embarrassed about their actions as they report to the police, the town is outraged at their thoughtless behavior. Yet more outraged are the wives of the men - Carl's wife Jude (Deborra-Lee Furness), Rocco's mate Carmel (Leah Purcell), Billy's 'wife' Elissa (Alice Garner) and, most of all, Stewart's wife Claire (Laura Linney) - a woman with a history of mental instability for whom her husband's insensitivity becomes intolerable. Claire sets out to 'right' things with the Aboriginal tribe who are devastated at the murder and the disregard for another human being's life that the fishermen have demonstrated. The town and the families (including children) are fractured by the deed - and the strange aspect is that no one appears concerned to discover the murderer, the greater 'crime' has been against human decency. In a powerfully moving final memorial for the dead girl every one is forced to face the dirty aspects of the recent events and come to a degree of understanding and acceptance.

Filmed in the beauty of the Australian countryside with camera technique that feels intimate and almost spying in nature, the story unfolds so naturally that the audience is made to feel a part of the dilemma at hand. The acting is first rate: Laura Linney once again proves she is one of our finest actresses, and Gabriel Byrne makes his odd character wholly believable. The supporting cast (especially the women) is outstanding. This is a sleeper of a film that deserves a wide audience, an audience ready to commit to thinking and reacting to an act and subsequent public response that, while difficult to swallow, is essential information if we are to exist in the society we have created. Highly recommended. Grady Harp

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.

In the Australian town of Jindabyne, the former race champion Stewart Kane (Gabriel Byrne) works in a gas station with his partners and friends Carl (John Howard), Rocco (Stelios Yiakmis) and Billy (Simon Stone). His impassionate marriage with the unstable Claire (Laura Linney) has an unresolved issue since Claire left him when their son Tom (Sean Rees-Wemyss) was born. The great passion of Stewart is fishing and he organizes a weekend fishing trip in a remote river with his three great friends. On Friday afternoon, they park the car and hike and camp in the spot; while fishing, Stewart finds the naked dead body of an aboriginal young woman floating on the cold water. Stewart ties the leg of the woman to an arbor and they spend the weekend fishing. On Sunday afternoon, they return to the parking area and report their finding to the police. When the press releases the information, their public and private lives are deeply affected and the disturbed Claire questions Stewart's attitude while trying to help and apologize with the family of the dead aborigine.

"Jindabyne" has a storyline of great potential, with a morbid and polemic study of moral aspects of human (and consequently flawed) characters. Unfortunately the screenplay is not good and looses the focus of the main storyline entwined with many parallel and unresolved plots of supporting characters. Why Caylin-Calandria has such weird and morbid behavior? (It seems that because of the death of her mother, but it is never clear). The character of the old man that killed the aborigine is not developed. Why Claire became dysfunctional with the birth of her son? Why Stewart is still married with Claire? The attitude of Claire against her husband is annoying and in Brazil we have a saying that states "with a friend (or in this case wife) like that, Stewart does not need enemies". Anyway, the locations in Australia are stunning, the cast has great acting and it is worth watching this movie. My vote is seven.

Title (Brazil): Not Available

Quality for the photography and naturalness of the actors. Quirky for the storyline and ending. Delightful for the setting. It might be 10 years since I was on the Monaro but the power of that stark landscape came through in the film. I could imagine the chill in the wind. The impoundments with their drowned towns could appeal to Australians with a sense of history but may not impact on people who had not seen them before. The reasons for the lakes could have been hinted at, viewers from other backgrounds could have missed out an important aspect of the film's many threads. The story was a little disjointed. It's not clear why an American and an Irishman were the major characters but perhaps there was finance from their respective countries. Regardless, Laura Linney made a huge impact with Tales of the City and she played just as fine a role here. The ending leaves the viewer with unanswered questions and it's a while since I've seen a film like that so it was good to have yet another unusual aspect to this film.

Australia looks beautiful. But, just as the old town of Jindabyne lies hidden beneath the waters, in the hearts of its inhabitants lie secrets...

This is a compelling film, full of terrific scenes, excellently acted, and profoundly disturbing. The only problem for me lies in the erratic recording of some - actually quite a bit - of the dialogue: whole sections conversation are muddied in mumble, and there was clearly a decision taken not to do any post-sync work. It's a shame. The dialogue that is audible is very good indeed.

Definitely worth watching, though, not least for another superb performance by Laura Linney.

Ray Lawrence has done it again. This film has made me see the Australian landscape in a way that I haven't really since seeing Picnic at Hanging Rock. The feeling as the lads start on the fishing trip is somewhat Hitchcockian, since we know that we're going to see the body sometime soon - we just don't know when. There's a sense of oppression and expectation overlaid on the natural beauty, that holds you transfixed.

The film may be criticised since it doesn't try and resolve anything on a a material level. However, Lawrence is more interested in the internal lives of his characters - all of them. He also doesn't want to hand us the exposition on a platter. There's back-stories that are unfolded gradually, making us think about the characters as we are pointed to knowledge of what lead them to their current lives. I'm glad to see a film made for people to think about, rather than spoon-feeding us some clichés about how hard life can be for the protagonists.

Water plays a significant role throughout the movie, from the river where the fishermen find the body, to Lake Jindabyne, and the ghost stories about the drowned town. We're made to dive into the lives of the characters, finding deeper and deeper layers of motivation as we move from the warm surface of their lives to the colder and more fragile hidden depths. We see that the body in the river acts as a sort of stand-in for each character's transformation in a death and rebirth of the spirit.

This is another masterpiece work from a master film maker.

Saw "jindabyne" last night with my mum and we both loved it. The cast were just brilliant and the plot and characterisations were dealt with so subtly that it was a real pleasure to watch. It is one of those movies that you go away thinking about for days - nothing's clear cut and all the characters are so believable in their reactions. I also thought it was totally believable having an Irish and American playing two of the lead roles as Australia is such an international country. And in response to some of the previous comments, I don't think it's at all unrealistic that there was no mobile phone reception down by the river - I can barely get reception in the outer-suburbs of some capital cities!! I'm not sure if it's true, but I heard Deborah-Lee Furness on the TV yesterday morning saying that Ray Lawrence makes them shoot every scene in one take, and if that's true I'm even more impressed.

Yes the scenery is great. Yes the Aussie small town story is portrayed reasonably well. But NO, this is not our finest Australian Film ... not by a long-shot! If anything, aspects of the plot are revealed far too early, and eliminate what could otherwise have been a more "gripping thriller-type plot", which could have endured throughout the film, and made the entire piece work as both a suspense thriller and an emotional study of some consequence. But instead, Jindabyne fails to achieve either of these outcomes. Apart from the excellent performances turned in by Gabriel Byrne and Deborra-Lee Furness, the cast lacks any conviction or believability factor. For me personally, the most disappointing performances come from two actors I admire, and have until now seen as exceptional practitioners of their craft - Laura Linney, and John Howard. Neither fitted their roles, and neither appeared comfortable in this film. Furness however plays it "raw", and both she and Byrne consume the screen totally, in every scene in which they appear. Despite in part being somewhat disjointed, the plot reveals many complicated relationships, and explores these quite well. It is in this facet of the film, that its strength lies. However, the trigger for all the emotional tension and fallout this produces, is the very part of the plot which could have been obscured and capitalised on further, allowing even greater use of "real" human drama than has been possible. It is a film well worth seeing, but for me it certainly fell well short of expectations. I'll wait for "The Book of Revelation" to restore my faith in the Aussie-made product (hopefully!).

This film is about a group of 4 men who discovers a dead body during a fishing trip. They continue fishing instead of reporting it to the police. This sparks outrage in the village, and the 4 men have to deal with the aftermath.

The character development is excellent. Each character is unique and different. Laura Linney deals with the tragedy by doing good deeds to redeem herself, while Gabriel Byrne deals with it by denial. The little girl, with an unfortunately unusual name, is provocatively antisocial. Billy is the histrionic one. Each character is different from another, and the interaction of them in the film is portrayed beautifully and convincingly in the film.

Laura Linney does the best job in the film. She is so convincing in her genuine attempt to redeem her husband's wrongdoings. The frustration that results from her husband's denial is painfully portrayed. The scene where she throws the vase at the ground is also a memorable display of emotion.

A comment says the film is dull. I am afraid I do not agree. This film is about the portrayal of different personalities when morality is in danger. The characters are so intriguing and complex, that just this alone makes viewing worthwhile.