Warwick Thornton's 'Wolfram' is a perplexing sequel to his acclaimed film 'Sweet Country', leaving audiences divided. But did it really need a follow-up?
The renowned Kaytetye filmmaker has built a reputation for defying expectations, transitioning from the powerful social drama 'Samson and Delilah' to diverse works like the hybrid documentary 'The Dark Side' and the vampire series 'Firebite'. So, when 'Wolfram' was announced as a sequel to 'Sweet Country', it raised eyebrows and curiosity alike.
'Sweet Country' was a neo-western masterpiece, telling the story of an Indigenous farmhand's self-defense against a white man, only to face relentless pursuit by the police. The film's ending left a lasting impact, shattering any illusions of justice for Indigenous people in colonial Australia.
Fast forward four years, and 'Wolfram' picks up the story in 1932. While it bears Thornton's distinctive style, it falls short of its predecessor. The pacing falters, and the emotional core never fully resonates. Despite the atmospheric brilliance we've come to expect from Thornton, the film struggles to find its footing.
The narrative reintroduces familiar faces from 'Sweet Country', including station owner Mick Kennedy (Thomas M Wright) and his Aboriginal son, Philomac (Pedrea Jackson). The story expands to include Aboriginal siblings Max and Kid, forced to work in the wolfram mines under the watchful eye of Billy. But here's where it gets controversial: the film lacks a clear protagonist, meandering between storylines, leaving viewers unsure of who to root for.
The characters, though compelling, seem to exist in a vacuum, failing to drive the plot forward. One might expect a pivotal moment to ignite the narrative, but it never quite materializes. As the film progresses, its slow pace becomes a burden.
The performances, however, are a highlight. Wright delivers an intense portrayal, while Jackson captivates with a magnetic presence. Deborah Mailman's Pansy, an Arrernte mother seeking a fresh start, is a compelling character, yet her talent is underutilized, a common issue in Australian cinema. This casting choice leaves viewers wondering what could have been.
Thornton's cinematography captures the harsh beauty of the Australian outback, but the human element of 'Wolfram' falls flat. It's a curious case of a talented director's work not living up to its full potential.
'Wolfram' premiered at the Adelaide Film Festival, leaving audiences with mixed feelings. While it's a visually stunning film, its narrative shortcomings may leave some wondering if this sequel was truly necessary. And this is the part most people miss: is it a worthy addition to Thornton's oeuvre, or a misstep in an otherwise stellar career? The jury is still out.
