Shots of Eden. Shots ring out. A duck is downed. Winged. Rescued.
The shooter is Henry, head honcho of the logging company that has been the lifeblood of the town.
The rescuer is Walter, ex financial director of Henry’s holdings who went to jail, apparently taking the rap for fiscal improprieties.
Walter’s son, Oliver, works for the wood mill, and his daughter, Hedvig, has set up an animal sanctuary for injured wildlife on the family property.
On the eve of Henry’s wedding to Anna, Henry announces the mill is shutting down. But there’s more than “trouble at mill.” An accompanying ill wind blows into the community as Henry’s estranged son, Christian, arrives from America to attend his father’s nuptials.
Christian is one big sulking sook, a self imploding sack of shit who blames his father for his mother’s suicide, and the world at large for his limp love love.
He is the harbinger of colossal upset, the serpent in the garden, behaving more like an appalling pall bearer, rather than a best man at a wedding.
Inspired by Henrik Ibsen’s play, The Wild Duck, writer director Simon Stone has wrought a beautiful and compelling film out of the submerged secrets that that rip the belly out of relationships.
This is the second major Australian feature film release of the year, and the second to star Odessa Young. As the daughter of the title, Young shows an impressive talent and maturity. The fortunes of the local film industry may lie in the steps of Odessa.
She certainly holds her own against seasoned performers like Geoffrey Rush as Henry, Ewen Leslie as her dad, Miranda Otto, particularly strong as her mum, and Sam Neill as her grandfather.
THE DAUGHTER is a tremendously engaging film that proves two old adages – misery loves company and let sleeping dogs lie.
But secrets aren’t safe with anyone and on this occasion give a foothold to mischief.
Cinematographer Andrew Commis, who shot The Rocket and Beautiful Kate, captures the majestic grandeur of the Jindabyne, as well as the dark interiors that reflect the internal combustion about to motor the emotional mayhem. Costume designer, Margot Wilson, recently famed for The Dressmaker, contributes a handsome wardrobe.
THE DAUGHTER leaves no doubt that the Australian film industry, by distilling classic works, can create distinctive and distinguished works of art.