Likewise, certain as I was that Caleb Landry Jones would deliver a convincing performance in the title role (“Nitram” only refers to the actual perpetrator by spelling his first name backwards), the mere prospect of modern cinema’s most fidgety weirdo playing a mass shooter is so vivid that actually seeing it on screen almost feels unnecessary. I may not have shared the same personal objections that have been raised by some members of the Hobart community since the project was first announced (on the contrary, I’ve argued for the potential value of similar films), but I still wasn’t eager to stomach another wallop of sickening helplessness - another “Dark Night” of the soul haunted by the inexplicability of something that millennials like me have been raised to expect like rain. New Movies: Release Calendar for October 21, Plus Where to Watch the Latest Films And though it’s no secret that Kurzel’s film cuts away a few milliseconds before the Port Arthur massacre begins, it made me queasy to think what someone with his talent for capturing the corpse flower stench that hovers around the roots of male violence would do with this story.Ĭanada's Oscar Entry Is About Chinese Censorship, but It Ignores Another Kind of Propaganda
I knew that “Nitram” - the unflinching portrait of a severely troubled young man during the weeks before he commits the worst mass shooting in his country’s history - would almost triple that number. I was first introduced to his work through “Snowtown,” a film so all-consumingly grim that it seemed to suck the light out of the universe in real time, leaving only the projector beam as a hostage to bear witness it’s the kind of thing that demands to be written about in the past tense, as the stuff of memory rather than something that could still be queued up on Netflix, because there’s no way in hell I’m ever watching it again.Ī 2011 docudrama about a string of murders that plagued Australia during the ’90s, “Snowtown” had a body count of 12. For one thing, Kurzel has a rare gift for soul-clouding dread. It would be hard to overstate the fear that I felt in anticipation of watching Justin Kurzel’s “ Nitram” (an experience that I’ve semi-deliberately avoided since its premiere at the tail end of last year’s Cannes).
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