![]() Now, before we get into the various whats and wheres of how you can watch 'Strangeland' right now, here are some specifics about the Shooting Gallery, Snider Than Thou Productions Inc. Below, you'll find a number of top-tier streaming and cable services - including rental, purchase, and subscription alternatives - along with the availability of 'Strangeland' on each platform when they are available. This adds rather than removes oxygen to key scenes and stretches personal moments into a vast, emotionally diluting aesthetic.Looking to watch ' Strangeland' in the comfort of your own home? Tracking down a streaming service to buy, rent, download, or view the John Pieplow-directed movie via subscription can be tricky, so we here at Moviefone want to do the work for you. 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. 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. ![]() One of the questions around the location of the children is whether they are alone in the desert or somewhere in town. 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. 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. Onscreen Kidman and Fiennes form a passion-deprived, near sterile chemistry, as flat as desert terrain. 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. 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.Įxpanding 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.Ĭatherine and Matthew are at times virtually impenetrable the latter completely lacking in empathy despite such traumatic circumstances and the former frustratingly unpredictable. 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. After the kids go missing, a CGI-enhanced sandstorm hits, placing an urgency on finding them.ĭetective David Rae (Hugo Weaving) is in charge of the investigation. ![]() 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). The Parker family have recently moved to the fictitious desert town of Nathgari. Perhaps this is a meaning insinuated by the film’s title if so, it’s not a very persuasive one. The cast feel dislocated from and unfamiliar with the environments captured by PJ Dillon’s alternately vast and close-up, glossy and dusty cinematography. ![]()
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