Wolfram Review: A Heartfelt Look at Warwick Thornton’s Contemporary Australian Western at the Berlin Film Festival
In his thought-provoking outback Western Wolfram, director Warwick Thornton explores the harsh realities faced by Indigenous people in 1930s Australia. The film, drenched in the intense colors of the country’s arid Red Center, presents an emotional narrative that maintains an ominous tension leading up to its bloody conclusion.
The term "Wolfram" refers to tungsten, a metal more precious than gold during that period. The audience is introduced to the character of Billy, portrayed by Matt Nable, who manages a mining operation with the help of two children, Max and Kid. Billy’s harsh treatment of Max, demanding he extract tungsten from deep within the earth, raises early alarms about the potential for violence in this barren landscape. An explosive outburst from Billy underscores the film’s draw towards impending brutality.
The story takes a turn as two mysterious strangers, Casey (Erroll Shand) and Frank (Joe Bird), arrive in a nearby town, introducing a menacing atmosphere. Their curiosity about a dead horse found in the town square sets the stage for a narrative filled with disjointed yet interconnected sequences. The tension escalates when Billy is bitten by a snake, leading to the introduction of Pansy (Deborah Mailman), an Indigenous woman, and her partner Zhang (Jason Chong).
As the plot unfolds, viewers witness the strained relationship between a hermit named Kennedy (Thomas M. Wright) and his mixed-race son, Philomac (Pedrea Jackson). Kennedy’s disdain for his son juxtaposes an inexplicable loyalty to Casey, revealing underlying themes of toxic colonialism. Philomac’s simmering resentment grows to a breaking point, culminating in a tense moment when he considers leaving his choking father behind.
The narrative threads intertwine as Casey and Frank unintentionally kidnap Max, with Kid hot on their trail. The story reveals a world governed by the idea that theft grants ownership, leading to a deeper exploration of emotional and familial ties as Pansy searches for her children. Philomac’s eventual rebellion against his father heralds a critical moment, with him allying with the two boys in an act of desperation.
Fueled by a deep-seated hatred for Indigenous people, Casey and Frank embark on a mission to reclaim the children, echoing themes of vengeance reminiscent of classic Westerns like The Searchers. Their fury intensifies when Max and Kid are taken in by a pair of Chinese pioneers who, despite their labor, provide the boys with food and shelter. This inclusion of Asian explorers, often overlooked in mainstream narratives, adds a unique dimension to the film.
Wolfram masterfully fuses social commentary with thrilling action, creating a landscape rife with human cruelty. The film offers a profound meditation on decay and despair, dominated by an atmosphere more palpable than the flies that seem to linger throughout. Remarkably, Thornton, known for his humanist storytelling, grants the final twist to the underdogs, delivering a satisfying conclusion that provides clarity to the film’s earlier ambiguity.
Audiences are likely to find appreciation in Thornton’s careful direction and the compelling narrative crafted by writers Steven McGregor and David Tranter. In doing so, Wolfram may very well establish itself as a modern classic within Australian cinema.
Title: Wolfram
Festival: Berlin (Competition)
Director: Warwick Thornton
Screenwriters: Steven McGregor, David Tranter
Cast: Deborah Mailman, Erroll Shand, Joe Bird, Thomas M Wright, Ferdinand Hoang
Sales agent: Paradise City Sales
Running time: 1 hr 42 mins
