With Indigenous affairs constantly at the forefront of Australia’s media, it should come as a surprise that Indigenous communities aren’t largely represented in our national cinema. The Adelaide Film Festival, now an instrumental player in contributing to our film industry, has brought Samson and Delilah to the forefront and presents a perspective rarely seen by mainstream audiences. Indigenous filmmaker Warwick Thornton’s debut directorial feature tells us of a love story between outcasts that is unrelenting in its production, documenting a raw portrayal of Indigenous life.

The biblical title concerns teenagers Samson and Delilah (non-trained actors Rowan McNamara and Marissa Gibson) but bears little resemblance to the tale itself. Their Alice Springs community is remote and there is little to do day-by-day, but love slowly develops between the two. It’s to Thornton’s credit that this is established with very minimal dialogue – looks really do count for everything as the awkwardness that teens often face settles into comfort and solace. As their journey moves outside the community, lack of words open up the implications of the social divide still existing between Indigenous and non-Indigenous Australians in the new century. Thornton simplifies his story by using this form of storytelling, but complicates his plot to increase intrigue.

The Adelaide Film Festival’s Audience Award winner is not an easy watch. Thornton, with the triple feat of director/writer/cinematographer, breaks the rules with his framing as he constantly establishes the landscape as the dominator over the Alice Springs community. Primarily distancing us from the characters, the only entry in comes through scenes of anxiety as we see Samson struggle with the trouble he faces. His petrol sniffing speaks as a cry for stability but lets him down at the worst of times – but Thornton doesn’t glorify this, and it’s again to his credit that he can include such an important issue with actual relevance. The varied music is inspired as it offers the teens a form of escape, but often used with contradiction to the plot. Samson and Delilah’s tastes couldn’t be any different – but like any love story, don’t opposites attract?

Using non-trained actors provides a raw quality, with McNamara and Gibson not even needing the conventional on-screen chemistry to make us believe their love-hate relationship. Thornton’s vision is truly unique as he succeeds in creating a film that presents hope amidst confronting situations, and Samson and Delilah importantly brings a realistic and unglorified Indigenous representation to a wide audience. We could be talking wider than Australia if its Cannes screening (as part of the Un Certain Regard selection, a la Ten Canoes) creates international interest.

Verdict:

A bold directorial debut for Warwick Thornton, Samson and Delilah is truly a film of its own. Australia now has something to think about as 2009 continues to be a shining light for our industry.

[Rating: 4/5]

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