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Australia 2015
Directed by
Molly Reynolds
88 minutes
Rated PG

Reviewed by
Sharon Hurst
4 stars

Another Country

Synopsis: Renowned indigenous actor David Gulpilil narrates the story of “what happened to my culture when it was interrupted by your culture”. He takes us to the township of Ramingining and explores the inherent problems of a white culture trying to impose its values upon the indigenous culture.

Charlie’s Country was a fictional tale loosely based upon Gulpilil’s life. This impressive documentary, written by Gulpilil, director Molly Reynolds and Rolf de Heer, director of Charlie’s Country, takes a factual look at the world from which Gulpilil comes.  Told in his own words, the personalised approach gives viewers a privileged insight into a culture we seldom experience, as well as a new way of seeing the often-fraught white/black dynamic in this country.

Gulpilil is the perfect person to narrate the story. He has spent his life walking the tightrope between two cultures – that of his own Yolgnu people and the white fella’s world. His voice carries a lived truthfulness when he tells us that white governments of Australia have never bothered to get to really know the indigenous people and then asks how on earth can they then presume to know what is best for those people. Incisive and difficult questions are asked throughout the film, such as why a town like Ramingining was ever built with no facilities other than a store and a school, and with no work and no future where, more evidence of white man’s ignorance of indigenous ways, people from completely different Aboriginal cultures were herded together and the elders dismissed. A bizarre and sad Easter celebration, complete with a grotesque crucifixion amid pouring rain and churning red mud, is the ultimate paradox.

The film captures many paradoxes of modern indigenous life: scenes of traditional dance give way to dance performed to rap music; the hounding of a trapped kangaroo for sport is a horrific contrast to the ways of the original hunters. Gulpilil is also at pains to explain why garbage has become such an issue – his people never even had garbage – what came from the bush was returned to it – but much of what the government thinks the people need now ends up as garbage. As he puts it, “we don’t see it or understand it”. Similarly, money creates problems as the imperative to share everything is an inherent part of indigenous values.

Individual examples are too numerous to recount but they all build up a picture of a world that simply does not work.

Because we never see Gulpilil, just hear him as the camera moves through the town, we feel we are seeing it through his eyes. The beauty of the bush is given occasional star treatment, along with revealing old black-and-white footage of how things used to be. A couple of inspiring sequences show the spectacular talents of the local painters but even they are suffering from the tactics of white art dealers and charlatans.

The detached, observational approach cuts deep. Towards the end, as ochre is smeared on and the townspeople dance, Gulpilil is inviting us all to open our hearts – “listen to our history, what we say, who we are”. It is an intensely moving plea and a film of this nature should go a long way to opening our minds and our hearts, towards inspiring a greater understanding. It should be essential viewing for all Australians of all ages.

 

 

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