But, as the grown-up Kingley explains to his granddaughter, the conversations between them forming a bedtime story framing device, “one day the world came to me.” That past involves Kingley as a child (the fresh-faced Finn Little, who has great presence) living on Ninety Mile beach with his father Tom (Jai Courtney, delivering a fine performance as a reserved but not unemotional man).įather and son are cut off off from the world. Seet and the cinematographer Bruce Young (who recently shot the excellent Blue Murder: Killer Cop and the laughable Bite Club) indulge in fish-eye style compositions, with blurry edges that evoke a dreamy past. It is a strikingly surreal opener, with a rich cinematic texture that comes and goes throughout the rest of the film. The room’s floor-to-ceiling glass window shatters and everybody exits except for Kingley, who, as if in trance, walks towards it, noticing a pelican outside perched on a light post. There are intense grey clouds, rumblings of thunder and heavy rain. In a meeting room high up in the building, Kingley observes a grey and foreboding metropolis – starkly contrasting the glistening aqua water and silky sand dunes of Coorong, South Australia, where much of the film is based. Photograph: Matt Nettheim/Stormy Productions Morgana Davies and Geoffrey Rush in a scene from Storm Boy.
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