An adaptation of the musical that endeavours to honour the previous genre, this film intends neither to arouse pathos over Australia’s dark history, nor make light humour of it. And yet this story excels in both exploring the Church’s complicity in creating institutionalised racism in Australia’s past (and present), and seeking an Australian spirit.

But I must tell you about the comedy. To describe it in one word: Australian. To expand: irreverent, misplaced, a little off-the-wall and most notable in the faces of the characters than in their words of actions. Truly Brand Nue Dae is a comic masterpiece. If you want to know what good Aussie humour is like, this is it. The movie is willing to forego high production values, superb acting, brilliant cinematography (that we audiences demand after James Cameron and Jane Campion started making movies) in order to bring you characters you want to connect with. It succeeds to the point that you forgive the makers for not making a “fine piece of cinema”.

As all good musicals do, and all “good movies” fail to do, this story seeks the redemption of all people, celebrates the possibility of reconciliation in culture, and refuses to judge the good and bad in our history. It attests that white religion has something to say for its part in the subjugation of indigenous, but at the same time recognises that the Church, as other Western institutions, can be forgiven for this. It points to the effects of racism in Australia’s education system, police system, etc., while at the same time acknowledges there is truth somewhere in the stereotypes that Aborigines carry. Every character is heavily flawed, inherently worthy of love, and capable of turning their loves around.

Maybe I’m tired from staying up late, but this was the movie that made me laugh when I was crying.