Alaina Dean9 May 2017
I scoop the complaining cat into my arms and cradle it like a baby. Oliver stands outside the kitchen door, throwing the mince meat balls out onto the lawn. One magpie appears, then two, three, swooping in on the easy breakfast. More magpies swoop from the sky until the lawn is dotted with them. Oliver throws the last ball and comes inside.
What follows is a fairly predictable falling in love story with the added humour of Duncan’s mixture of disbelief and jealously over his idol “fancying” his now ex-girlfriend. O’Dowd plays his classic loveable type but with a sheen of wanker that makes you feel thoroughly uncomfortable and like the world is spinning off kilter.
Her eldest daughter picks up the cake tin and takes it inside. She puts her son down and he toddles after them. She passes her mother in the doorway. “Typical of him to leave it on the verandah like that.”
“It’s a water rat,” I say to Hannah, but she probably already knows that. The rat pulls itself up onto the boardwalk and rests its little hands on the hunk of bread. Its stomach bulges. Hugo takes a nibble and then drags the bread down into the rocks. The white tip of his tail flashes.
I do have one gripe about this film, one scene that makes me gag. Troy, Neil and Neil’s mum Angie (the brilliant Kate Mulvany) play “Canola Bowls” which consists of them frolicking in a bright yellow canola crop playing a DIY version of ten pin bowling. Angie even has a sprig of canola tucked behind her ear like a frangipani. This would never happen because canola stinks worse than a pig truck going through town and is three-quarters of the reason I rarely leave the confines of the city. But don’t let that stop you from going to see this absolute gem of a film.
The living room looked out over Elgin Street. Her flat was flanked by an Indian restaurant and a car park. The boobs the chalk were referencing could only be hers. She flung open the window and leant out, as if the scent of the chalk writer still hung on the air and she could sniff them out.
The centre of the universe is starting to combust.
An immense film to add to the Australian film canon, Don’t Tell is director Tori Garret’s first feature film and documents the landmark legal case which prompted the Royal Commission into child sexual abuse.
He looked down at the vast valley below him, at the tops of the trees that were smudged grey and purple in the fading light.
Solomon Delaware Daley was born wide-eyed and completely silent.
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