I’ve begun to observe a certain categorical and identifiable representation of masculinity in contemporary Australian cinema, one inherently constituted by genre on the one hand, and imaginings of landscape on the other: Which is to say, Australian cinema has always been engaged in interrogating or perpetuating the mythos of the self-realised ‘outback bloke’ — though it required a Canadian dramatist, Ted Kotcheff, to dismantle the archetype wholesale in Wake in Fright — but a recent influx of tiny Australian pastorals of epic interiors have reclaimed the archetype for renewed audience fascination, by subjecting this human avatar to the violence of the land he professes to emblematise.
There must be something iconic, unassailable and inexpressible — “primal”, growls Thomas (a.k.a. Chris Alcott), one of two central protagonists in Kasimir Burgess’s riveting and loss-haunted début feature, Fell — about a man’s attempts to carve a channel wide enough to accommodate him in the topography of the Australian landscape, because this is a narrative of provenance which we appear collective-bound to tell. Writer/director David Michôd has probably assumed the status as the proverbial poster boy for rehabilitating this once-shunned storytelling tradition in Australia, and certainly there’s something to be said about Michôd’s conviction that the conditions of a particular landscape will compel dramatic impetus in a story about men. In many ways, however, Michôd’s The Rover is schematic or obfuscating — low-stakes, emotionally — where Kasimir Burgess’s Fell is mute but stormy with meaning. Continue reading