Sob o Efeito da Água

An interesting portrayal of how heroin addiction impacts a cross section of people in suburban Sydney. The "little fish" in the multi-million dollar heroin trade swim around in circles, trying to escape the lives they are stuck with – some with more success than others. Tracy (Cate Blanchett) lives with the legacy of her former addiction, faced with temptation to fall back to her old ways, and constantly hitting a brick wall in her attempts to start her own business and escape her stagnant existence. Blanchett is, of course, strong in her portrayal, which was apparently inspired by her real-life interviews with addicts. The moment when she is tempted to return to her old ways is genuinely disturbing. Noni Hazelhurst is particularly excellent as tormented mum Janelle, desperate to keep her family from sinking, once again, into the mire. Hugo Weaving is convincing in his role has a drug-addled former football hero. His strong performance is boosted by his startling physical transformation. Watch out for Dustin Nguyen, who you might remember from '80s teen cop show 21 Jump Street. His accent is a little confused, which we can probably write off as the result of his character's multi-national background. Although the pic meanders a bit to begin with, taking some time to build up pace, it's a generally satisfying exploration of the underside of life in Sydney suburbia. Some sub-plots work much better than others, but the film is well worth a look, especially if you are a fan of the talented cast who generally shine here.

It's a disturbingly honest film portraying a hauntingly familiar life and how it is affected by the seamy drug/underworld of Sydney's Asian community. That's not to say that only the Asian community has drug and underworld problems, but it makes for an interesting and colourful backdrop for a complicated but compelling story. In fact, even now two hours after we left the cinema, I'm still mildly troubled by the seeming hopelessness of the confused lives portrayed. It was so real, so close to the bone. The characters could easily be you, or me. As another reviewer stated:

"There's no light-the tunnel goes on forever." A pretty accurate assessment.

I've heard it said that for Blanchett and Weaving their performances rank as personal bests, but I'm not all that sure I'd go that far with Weavings. He was good, very, very good as the broken-down drug-ridden ex-football star but Blanchett's performance as the reformed addict desperately trying to get her life together, to set up her own business and actually resurrect something from the pathetic life she has, was absolutely amazing. Her character is both complex and simplistic all at once. You can detest and love her, feel sympathy and disdain and find by movie's end you're aware that she could so easily be you.

Included in the cast as perennials the likes of Noni Hazlehurst, Lisa McCune and Sam Neill all played sound parts but not a patch on the leads. The balance of the cast are movie journeymen/women who have many and varied backgrounds. None were overly outstanding, although I found the character of Jonny, Blanchett's former boyfriend played by Dustin Nguyen to be quite well done. He disgusted me for what he was and what he wanted to be and that's the actors art.

Go and see this flick. It's an outstanding example of the Australian film industry's capabilities. I rate it 8 out of 10.

Tracy is an ex-heroin junkie how has cleaned up and wants to start a new life in her new store' but she cant finance her new endeavor. Her brother Ray is a speed dealer looking for his big deal, his friend Jonny is an ex-deal who is now a stock-broker. Lionel is looking to go straight, giving up heroin. Tracy's mother Janelle was friends with Lionel but broke off when he gave Tracy Herion. Lionel is also infatuated with Brad, his dealer.

This is a very strong drama, and its been awhile since Australia has made a good drama. The story is a great look at family, friendship, the pain of change and rejection. Jacqueline Perske script is very deep and multi-layered. There are many sub-plots that keep you constantly thinking. Rowan Wood's direction is a step up from his last feature 'The Boys', being more experimental and more unconventional. The cinematography is wonderful, the use of many washes raise the mood and tension to higher levels, tightening the atmosphere of depression.

This has a stellar cast; Cate Blanchett, Hugo Weaving, Noni Hazlehurst, Sam Neill, Lisa McCune, Martin Henderson and Dustin Nguyen all give strong performances, not a single flaw in the acting. Blanchett and Weaving give great career performances, Weaving is just brilliant. Hazlehurst brings a performance so shockingly different, this is not the Nomi you know from 'Play School'.

The only thing i felt was wrong with Little Fish is its just abit to long. If it was cut down by ten minutes or so, it would have the pacing more faster and get to the point a lot quicker.

This is a spring board of better things to come out of Australia.

As Cate Blanchett said herself, 'Little Fish' is about the people between the middle class and lower class, those who are struggling with their daily lives and are largely ignored. Perske's screenplay is good but it could have been a little tighter as the film does drag at some portions. Woods is good and he brings a certain realness (with the help of the actors) in portraying the complex relationships between the characters. All the main characters, most of them 'recovered' addicts and some returning addicts, try to seek a better life but there is just 'one last trade' that would 'get them to their goals'. Dustin Nguyen (in spite of an uneven accent), Martin Hendersen, Sam Neill and Hugo Weaving are all adequate in their parts and Noni Hazelhurst is wonderful. However, 'Little Fish' belongs to Cate Blanchett. One can see a Blanchett that's completely different from her Hollywood films (then again she's always different in each of her movies). A difficult part required an immensely talented actress and she just makes the task look easy. There's a frightening scene where Cate's Tracy is tempted to 'return' but then a magical scene follows where she walks into a choir rehearsal of a group of singing Vietnamese children and she is confused, conflicted and eventually comforted. This one profound scene was so brilliantly executed with the long shot camera, the innocent voices of the children as they sing the powerful words, and Cate asking repeatedly where the bathroom is while being confused, that the strength of it stays in mind long after the end credits have rolled.

Director Rowan Woods and his collaborators have crafted a totally absorbing urban drama about complex homosapiens whose lives have been compromised by drugs and various addictions.

Cate Blanchett is Tracy, the film's lynch-pin, a Western suburbs girl whose ambitions to get ahead are thwarted by financial and personal skeletons from her past.

Scribe Jacqueline Perske manipulates a tangled web of characters ranging from Sam Neil's retiring drug baron Brad to Hugo Weaving's failed yuppie junkie Lionel. Noni Hazlehurst, in a riveting performance, plays family matriarch Janelle, a woman so crippled by regret and betrayal, she can hardly stand upright.

The tone is a few degrees lighter than Woods' brilliant "The Boys" and the Cabramatta milieu is broader, but this is still a beautifully balanced character piece with top notch performances and a restrained third act that avoids the usual clichés.

Supporting turns by Susie Porter (as Jenny) and Joel Tobeck (as Moss) are exceptional.

Though some climactic clarity might have been helpful, this is, nevertheless, emotionally graphic and pictorially intense cinema.