Strangerland 2015 Full Movie

Yaripk presents the Movie Of Hollywood”Strangerland” Directed by Kim Farrant Starring Nicole Kidman Joseph Fiennes Hugo Weaving in lead roles exclusively on YariPk.

Strangerland 2015 Full Movie

Strangerland

Theatrical release poster
Directed by Kim Farrant
Produced by Macdara Kelleher
Naomi Wenck
Written by Michael Kinirons
Fiona Seres
Starring Nicole Kidman
Joseph Fiennes
Hugo Weaving
Music by Keefus Ciancia
Cinematography P.J. Dillon
Edited by Veronika Jenet
Production
company
Worldview Entertainment
Dragonfly Pictures
Fastnet Films
Distributed by Alchemy
Release dates
  • 23 January 2015 (2015-01-23) (Sundance Film Festival)
Country Australia
Ireland
Language English
Budget 10,000,000

Strangerland 2015 Full Movie

Strangerland is a 2015 Australian-Irish drama suspense film directed by Kim Farrant and written by Michael Kinirons and Fiona Seres.[1] The film stars Nicole Kidman, Joseph Fiennes, and Hugo Weaving. The film premiered at the Sundance Film Festival on 23 January 2015[2] and is scheduled to be released in a limited release and through video on demand on 10 July 2015 by Alchemy.

strangerland 2015

Strangerland

irector Kim Farrant’s feature film debut Strangerland, starring Nicole Kidman and Joseph Fiennes as parents of two children missing in the desert, is sprayed with roving aerial shots capturing the vast, arid Australian landscape. The insinuation is that this harsh environment is treacherous primarily due to its mass – the sheer bulk of it, stretching across the screen like a golden blanket.

The best films about characters lost in the Australian wilderness were concentrated into a small block in the 70s: Walkabout, Wake in Fright and Picnic at Hanging Rock. These films have an on-the-ground intimacy with a keen eye for small things like rocks, creatures, shrubbery and campfires. One can’t help but feel the emotional distance separating audiences from the characters in Farrant’s film – a heavy-handed and at times perplexing drama – is in part related to a literal kind of proximity.

The cast feel dislocated from and unfamiliar with the environments captured by PJ Dillon’s alternately vast and close-up, glossy and dusty cinematography. Perhaps this is a meaning insinuated by the film’s title; if so, it’s not a very persuasive one.

The Parker family have recently moved to the fictitious desert town of Nathgari. Catherine (Kidman) is married to British pharmacist Matthew (Fiennes) and is mother of 15-year-old Lily (Maddison Brown) and her younger brother Tom (Nicholas Hamilton). After the kids go missing, a CGI-enhanced sandstorm hits, placing an urgency on finding them.

Detective David Rae (Hugo Weaving) is in charge of the investigation. Matthew is reluctant to divulge information about the family’s past – which, in the great tradition of remotely set Australian dramas, is rather morbid – so naturally David is the kind of cop who likes to fish through bedroom drawers and ask curly questions. We learn that “Tom walks, sometimes at night” (evidently nobody tries to discourage him) and when murmurs around town suggest the parents may somehow be involved in their children’s disappearance, there are fleeting echoes of Lindy Chamberlain’s story.

Expanding the mystery along those lines – more whodunit and more cross-examination of key players – would have suited the ambiguous personalities of Strangerland’s principal characters, but Farrant’s focus seemingly lies elsewhere.

Catherine and Matthew are at times virtually impenetrable; the latter completely lacking in empathy despite such traumatic circumstances and the former frustratingly unpredictable. Both are prone to moments that suggest they are either acting out of character or indicate the screenplay, written by Michael Kinirons and Fiona Seres, hasn’t effectively established their personalities in order to legitimise surprise reactions to dramatic situations.

Onscreen Kidman and Fiennes form a passion-deprived, near sterile chemistry, as flat as desert terrain. Their characters eye each other off as if they know nothing about each other: again, arguably a correlation to the film’s title and again, not a very compelling one. Things make more sense in the context of an unusual sexual undercurrent that eventually forms an integral part of the story, not before revealing some alarming sights, including a grubby sex den at a skate park and a battered and zombified Kidman in her birthday suit.

One of the questions around the location of the children is whether they are alone in the desert or somewhere in town. Strangerland’s countless helicopter or drone shots, regularly reiterating the message that “Nathgari” is a synonym for “based in nowhere”, clearly weigh towards one explanation over the other.

Several vital situations comprising intense dialogue and times of epiphany and reflection are undercut by Farrant’s decision to swiftly segue to these long shots. This adds rather than removes oxygen to key scenes and stretches personal moments into a vast, emotionally diluting aesthetic.

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