One of the many things I loved about this atmospheric, Australian mystery was the light. Despite having Gothic undertones and considering the darkness of the story, the violence and betrayal at its heart and the morbid backstory, a viewer sees deeds done in light. Even bad behaviour in the twilight is clear and defined. And the audience needs that definition because the search for redemption is obfuscated until the shocking finale.
James has done his time for his part in the drowning of a young boy when he was just a young boy. Now out and with a reputation for using his fists, he is not content to stay in the halfway house that has been mandated for him. His father is nowhere and mother won’t have him but she will help where she can. Initially, without commitment.
Against all parole conditions, he goes back to the site of the crime: a caravan park between river and ocean. His purpose is unclear, yet he meets up again with the individuals involved and perhaps he is trying to understand what went on. Or perhaps he searches for the body that was never found.
The film has a stellar cast. The safe mature hands of Kerry Fox, Robert Taylor and Helen Morse. And the new riskier, edgy fresh faces of Reef Ireland, Thom Green and Charles Ground.
As James, Reef Ireland is an enigma from the first shot when he sits in silence, in brooding close-up. His inner world a mystery and the direction by first time feature director Grant Scicluna, only ever gives us glimpses into his thought processes as he stands and looks or explodes into violence. We never really know him until the denouement when we begin to understand. Ireland’s performance let’s just enough slip for the audience to be intrigued and carried along with James.
Not part of the original drama, Damo (Charles Ground), in the cabin next to James, is an outsider and clearly a lost boy. His interpretation is low key and the audience can feel his alienation in his domestic setting. When he says “I hate everybody”, all the lost boys we know are in his attitude.
Supplementing these other outstanding characterisations is Thom Green as Anthony a young man who seems on the surface, irredeemable. In a mesmeric performance Green’s manipulating egotist has depth and space enough for the revelations of how he became what he is to profoundly affect the viewer.
James’ mother, Paige (Kerry Fox) is protective of her new relationship with truck driver Wayne (Robert Taylor in an understated supportive role). Paige turned the boys in and she knows best what her son did. Her beautifully realized, conflicted performance is driver of the essential question of the film. What can we forgive? Are some things just unforgivable? Does rectitude allow forgiveness of the original sin?
In prison, James is shown as being in a loving relationship with his cellmate and queer sex in its many forms is in the film. Wanking, hand jobs, blow jobs, anal sex are unashamedly on the screen as they would be in the life of these young men. Scicluna has assuredly not just set out to create a Gay film but in giving the scenes a visceral reality they become plot drivers. They are not merely an indicator of the nature of the protagonists, however DOWNRIVER does addresses the alienation and desperation of these sexually active young men as it foregrounds encounters of loveless and plaintive grasping at tenderness growing into acceptance and depth. Nor are the depictions just the obligatory sex scene or political statement, the sexual elements enrich and round the film.
Another important element to bring DOWNRIVER together was the Australianness. Not just in the words and places: Hamburgers with the lot and midges at nightfall. But the way the gentle flowing cinematography places the film squarely in the landscape. Not the blazing sun of the outback but the muted gum greens and light yellow sand tints of the tree ridden coast. As the site of the murder, the river manages to be both swiftly moving and inviting yet murky until the salt of the sea washes away the sin. The caravan park is claustrophobic, the homes are half finished and the wild dogs boldly move closer to the encampment of people.
The audio score is subtle, in sympathy with the emotions and the dialogue overlaps into new scenes. In much the same way as the ethical questions resonate around the mystery.
DOWNRIVER. It’s a film that will stay with a viewer and echo for some time to come and an inspired choice to be part of the Mardi Gras Film Festival curated by Queer Screen.
This fine film has 2 showings during the Festival , Saturday 27th Feb 7pm and Thursday 17th March at 6.30 pm at the Event Cinemas in George Street.