Rated: MA15+
Directed by: Stephen Maxwell Johnson
Written by: Chris Anastassiades
Produced by: David Jowsey, Maggie Miles, Witiyana Marika, Greer Simpkin, Stephen Maxwell Johnson
Starring: Jacob Junior Nayinggul, Simon Baker, Callan Mulvey, Jack Thompson, Witiyana Marika, Aaron Pedersen, Caren Pistorious, Esmerelda Marimowa, Ryan Corr, Sean Mununggurr.
When you’ve got the high ground, you control everything
“Be quiet!” someone cussed at the other critics, chatting in the audience.
And then the film began, in complete silence.
Only the sound of birds twittering. And screeching.
High Ground is a revenge film set in the early 1900s. The days of the early settlers in Australia, when the indigenous population killing a cow could lead to massacre in retribution.
When a young boy, Gutjuk (Jacob Junior Nayinggul) witnesses his family killed by white settlers, Travis (Simon Baker), the army officer leading the team, takes Gutjuk in his arms, disowning the behaviour of his countrymen.
He leaves his army days behind.
Fast forward twelve years and we see the Wild Mob burning up settlements and causing mayhem.
Mayhem led by Baywara.
Gutjuk’s uncle taking revenge.
There’s more here than a little boy seeing his family killed.
There’s the complicated nature of finding the balance between the people already living on the land and those wanting to own the land; those who take and those who want to listen.
The complex nature of settlement is embodied in the character Travis. A white man scarred by the slaughter of innocents by his countrymen. He disowns the status quo but is unable to get away from his past.
There’s taking revenge to be someone, where standing in anger is better than feeling the pain of being treated like nothing.
Then there’s Gutjuk, re-named Tommy. The little boy taken to live in a white settlement. Loved. But never forgetting his roots.
The conflict is intense but the film is quiet, inviting the audience to listen. Really listen. Making High Ground a tense film built on the sound of the land.
I can’t recall a soundtrack at all. Just the sound of birds and language, the somehow warm slither of a snake across rock like fingertips over velvet. Like the animals provided another voice all set in the vast landscape of the Northern Territory: Arnhem Land.
The dialogue is simple. Sparse. Too sparse. But that’s what allows the sound of the birds to speak. So there’s an immersive brilliance to the film broken by confronting moments of violence.
I kept jumping.
But because of this quiet focus, some of the story felt glossed over. So I was in this magical moment, then frowning when the narrative didn’t add to the relationships of the characters, the storyline somehow underdone.
What absolutely hit the mark was the performance from Jacob Junior Nayinggul – I believed every single word, his character Gutjuk, a highlight.
But more than anything it’s bringing the land into the story that makes this film unique.
I am Gutjuk, meaning hawk.
The totem of the hawk a constant presence, a forever watchful eye. High above, everything.
Recommend watching this one on the big screen.
All Traditional Owners of the land on which HIGH GROUND was filmed gave their blessing for the film and provided unprecedented access to country. On request of the Jawoyn the Kakadu National Park management closed tourist access to one if its key attractions the stunning Gunlom Falls for the filming of key scenes. Many local Aboriginal people worked on the film in front of and behind the camera.
Full Statement by Galarrwuy Yunupingu ” HIGH GROUND is a both-ways film, First Nations and Balanda. It depicts a time of trouble in Australia; it honours our old heroes, reminds us of the past and the truth of our joint history in the country. I hope that this film can play an important role in Australia’s national conversation towards a First Nations Voice enshrined in the Constitution so that all our children will walk in both-worlds, never forgetting the past.” Galarrwuy Yunupingu AM Gumatj Leader