“it is important to remember that not all dreams are necessarily from God.”
black and white.
stark contrast to the way the world actually works.
much like the title of the movie, everyone in this film is in some state of limbo. you could try and minimize the scope of everything that’s transpiring in this film to one central even that happened 20 years ago, but it would be a disservice to ongoing and incredibly complex 250 year struggle that the aboriginal people have been dealing with in australia. it’s hard for me to say anything about the way another country handles complex race issues, particularly when it comes to indigenous people. america itself doesn’t have the best track record when it comes right down to it. but here, it seems so much emptier.
perhaps all that it boils down to is the trauma that a nation’s people endures. how that trauma sits squarely on your chest and suffocates you until your ribs learn to function differently. how the easiest answer in all of this is that there is no answer.
simon baker’s dogged detective travis hurley is definitely a man with his own issues. our first introduction to him shows him shooting up in his hotel room, and though he’s investigating a cold case, he doesn’t seem particularly interested in getting answers. it feels like an obligation of his job, and that’s all it is. it’s a performative action indicative of the white guilt most nations hide behind when they feel like finally facing the skeletons in their closets. of course, the skeletons in the closet are always too numerous to be addressed, so we settle for merely pushing them around and saying “see? we are trying.”
and it’s fruitless, and frustrating. even though hurley and the people of limbo eventually enter a unique relationship, there’s nothing hurley can do to solve this mystery. nothing he can do to erase all the damage that’s been done. nothing to even remotely ease the pain of loss. it’s more than a bit devastating that the best hurley can do for this shattered family is give them back all the pieces they’ve been broken into, and hope that together they can build themselves back into something that they once were, and in a fairer world, should have always been.
enjoyed it, in a way that’s hard to describe.
“it is important to remember that not all dreams are necessarily from God.”
black and white.
stark contrast to the way the world actually works.
much like the title of the movie, everyone in this film is in some state of limbo. you could try and minimize the scope of everything that’s transpiring in this film to one central even that happened 20 years ago, but it would be a disservice to ongoing and incredibly complex 250 year struggle that the aboriginal people have been dealing with in australia. it’s hard for me to say anything about the way another country handles complex race issues, particularly when it comes to indigenous people. america itself doesn’t have the best track record when it comes right down to it. but here, it seems so much emptier.
perhaps all that it boils down to is the trauma that a nation’s people endures. how that trauma sits squarely on your chest and suffocates you until your ribs learn to function differently. how the easiest answer in all of this is that there is no answer.
simon baker’s dogged detective travis hurley is definitely a man with his own issues. our first introduction to him shows him shooting up in his hotel room, and though he’s investigating a cold case, he doesn’t seem particularly interested in getting answers. it feels like an obligation of his job, and that’s all it is. it’s a performative action indicative of the white guilt most nations hide behind when they feel like finally facing the skeletons in their closets. of course, the skeletons in the closet are always too numerous to be addressed, so we settle for merely pushing them around and saying “see? we are trying.”
and it’s fruitless, and frustrating. even though hurley and the people of limbo eventually enter a unique relationship, there’s nothing hurley can do to solve this mystery. nothing he can do to erase all the damage that’s been done. nothing to even remotely ease the pain of loss. it’s more than a bit devastating that the best hurley can do for this shattered family is give them back all the pieces they’ve been broken into, and hope that together they can build themselves back into something that they once were, and in a fairer world, should have always been.
enjoyed it, in a way that’s hard to describe.
