“Formally, Moffatt’s movie is a beautifully considered, carefully crafted ‘tour’ across various, symbolically loaded areas of space, wherein John Whitteron’s steadily exploratory camerawork forces our gaze to look at certain, otherwise quite banal, objects and activities and to studiedly contemplate them, in all their sadly arrested beauty, in all their absurd tragi-comedy. Stephen Curtis’ set design, a symphony in scale and perspective blends the saturated ambers and lavender purples of Albert Namatjira’s kitschily redolent watercolours with what, again, might, or might not, constitute a stylised rendition of the living-room interior from the 1955 Chauvel classic. And Phillippa Harvey’s sound-edited noise-scape is probably one of the best uses of ambient aural effects in any local film, so much so that the wonderfully textured wailing and weeping, the strange whistles and screams can stay with the viewing ‘auditeur’ for days afterwards.”
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