Indeed, despite the genre leanings of Kent’s first film, The Nightingale has more in common with something like Walkabout, The Road or, perversely, even Green Book, though we are in no way suggesting fans of these films are necessarily likely to also enjoy The Nightingale. By that we mean the violence is not titillating and no one’s going to be punching the air by the end this isn’t an exploitation movie, though it is about exploitation in various forms. Much has been made of the extreme sexual violence throughout the film – and let us be clear, it is brutal, punishing and frequent – though The Nightingale shouldn’t be mistaken for ‘a rape-revenge film’.
Set in 1825 in Van Diemen’s Land (now Tasmania), The Nightingale is a tale of colonial violence and hard won revenge as a young Irish convict girl, Clare – played by Aisling Franciosi – who, with her family, suffered an unspeakable attack at the hands of a group of British soldiers – pursues the men through the rough landscape aided by young Aboriginal man Billy (Baykali Ganambarr) who has experienced his own violent injustices. But The Nightingale is somehow more powerful and audacious for it. It’s a willfully uncommercial prospect and it’s impossible to know who the intended audience is.
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Though it’s been reported that several major studios approached her for big ticket properties, instead she made The Nightingale, a difficult, furious, beautiful and ambitious movie that apologises to no one. Validated parking in the building garage after 5:30 pm.After the success of her feature debut, the gorgeous, grief-soaked horror The Babadook, all eyes were on what Australian director Jennifer Kent would do next. Not a Film Lover or Arts Circle Member? Join now. The filmmakers respectfully request that the specific nature of the brutality inflicted upon Clare’s family at the beginning of the film not be revealed to future viewers. While art can make viewers uncomfortable, it can also inspire reflection on the importance of empathy for our survival. The film presents the opportunity to open an honest dialogue about cycles of violence, the repercussions of colonialism and the value of experiencing challenging, troubling works of art. While the film’s narrative is fictional, it is inspired by historical events. This film portrays complex issues and does not attempt to offer neat solutions for systemic issues of race, misogyny, sexual violence or classism. The Nightingale features potentially triggering acts of sexual violence towards women, violence towards children and violence motivated by racism. Clare and Billy are hostile towards each other from the outset, both suffering their own traumas and mutual distrust, but as their journey leads them deeper into the wilderness, they must learn to find empathy for one another while weighing the true cost of revenge.Ģ019, 136 minutes, color, DCP | Written and directed by Jennifer Kent with Aisling Franciosi, Sam Claflin, Baykal Ganambarr The terrain and the prevailing hostilities are frightening, as fighting between the original inhabitants of the land and its colonizers plays out in what is now known as The Black War. Unable to find compatriots for her journey, she is forced to enlist the help of a young Aboriginal tracker named Billy (Baykali Ganambarr), who grudgingly takes her through the rugged wilderness to track down Hawkins. When British authorities fail to deliver justice, Clare decides to pursue Hawkins, who leaves his post suddenly to secure a captaincy up north. Clare’s husband Aidan (Michael Sheasby) retaliates and she becomes the victim of a harrowing crime at the hands of the lieutenant and his cronies.
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Having served her 7-year sentence, she is desperate to be free of her abusive master Lieutenant Hawkins (Sam Claflin), who refuses to release her from his charge. Set during the colonization of Australia in 1825, the film follows Clare (Aisling Franciosi), a 21-year-old Irish convict. The Nightingale is a meditation on the consequences of violence and the price of seeking vengeance.
Read the filmmakers’ trigger warning (below the film description) in its entirety before moving on to the RSVP page for this event. PLEASE NOTE: This film contains sensitive and potentially upsetting content. Includes a conversation with writer/director Jennifer Kent and actors Aisling Franciosi and Baykali Ganambarr moderated by Jacqueline Lyanga
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