nicofieu It's been a while since I have been watching such a slow movie... nothing really happens. Pictures are great but it looks so great and hot that I was suffocating by the lack of rythm. I could not go any further than 30 minutes.

beorhhouse I can't wrap my head around why directors think it's perfectly fine to show, without symbolism, the brutality of rape. It's done all the time, but one is led to believe that these directors, and anybody else involved in the film, are voyeuristic weirdos with nothing else on their minds while rationalizing that they are somehow telling the truth of the reality of life. Things can be suggested, people. They don't have to be spelled out. You're sick. You need help. Here's my one star to help you understand that you don't have support from me and many, many others like me. Wake up.

Ayal Oren I've read here two reviews by Australians, one hated the film, the other loved it. I've seen the film in the company of two other Australians, they both loved it. Yes, I agree to the point made, by the hating reviewer: the movie does judge the past according to modern morals and sensibilities. But this would be a valid point if we were discussing an academic paper or a movie that was made back then. This is neither it's a movie about Australian past that was made at the present and it feels so true it hurts. It hurts because the only way we can see it is with our modern eyes. Saying people thought differently back then, is true but it's beside the point. We, the viewers are here and now and that's the only time and place we can watch it.So lets speak about other aspects of the film: cinematography, acting and story telling are superb. But I liked most of all the editing, with these tiny flashes forward and backward throughout the movie, flashes we can fully understand only when we've seen the movie all the way through. Please do, I think you won't regret it.

Raven-1969 Every person according to their work shall be. A real-life murder in the Australian outback in 1929, sends Sam on the run. It is not guilt so much that causes him to flee, but the color of his skin. He acted in self-defense against a brutal, remorseless and bitter thug, but Sam is an Aboriginal which, at the time and place, does not give him confidence that the arc of justice will bend in his favor. Posse and prey are transformed by the chase. There is a silver lining in the conflict that ensues, hope in the face of despair, and a rainbow with the storm.Sweet Country is mesmerizing, unique and insightful. The cinematography is stunning. I half wished that the camera lingered in the beautiful firelight, red rock, white sand, stars, mountains and colorful sunrises. Warwick Thornton (Samson & Delilah) is masterful and innovative. I was surprised and delighted by the mischievous twists in the film timeline where brief glimpses of future blood and madness, flit across the screen. Despite the details revealed with each such glimpse, I was less sure of the future than before. The scenes left me with a pleasant feeling of being teased.Sam Neill and Bryan Brown are paired with less familiar actors, and each actor performs so well. The tantalizing mixture of sound and silence is another treat; hearing a fight but not seeing it, cool ambient sounds and the Aussie tang in the spoken word. The writing is deep and meaningful, which is a must for me. Tension is not only between races, it concerns generations, men and women, religion, action versus letting things be, and more. Scenes are unique in character and stories in themselves.