It’s a time “10 years after the collapse,” when, from the evidence, the Australian economy has gone south and locals are reduced to scavengers while Asian mining interests control the purse strings. Ruffians, many of them foreign, can’t find work and so have turned to crime no authority is in place to keep order, and people who might once have been warm and welcoming have turned wary. As recycled as many of the individual images here may be - its forbidding, lifeless landscapes are populated almost entirely by bloodied, grizzled, sweaty men with guns enacting eternal violent rituals in pursuit of vengeance - Michod has nonetheless developed a very specific setting for his elemental drama. theatrical release, looks to find a responsive audience in specialized play. Debuting as a midnight attraction in Cannes’ official selection, this intense and bloody thriller, which A24 has already locked up for U.S.
Fusing a number of quasi-apocalyptic influences into a hybrid work with a pungent character of its own, The Rover suggests something like a Cormac McCarthy vision of Australia halfway between today and The Road Warrior era.ĭavid Michod’s follow-up to his internationally successful debut, the Melbourne gangster saga Animal Kingdom, is equally murderous but more pared down to basics, as desperate men enact a survival-of-the-meanest scenario in an economically gutted world reduced to Old West outlaw behavior.
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