At first, The Tracker seemed to be a straightforward Australian Western with three white men tracking down a murderer, with the help of an Aboriginal man more familiar with the Outback. But The Tracker takes unexpected paths. First, no one is given an actual name– they’re referred to in the credits by titles (e.g. The Fanatic, The Follower, The Veteran, and of course, The Tracker). Second, the soundtrack seems to act as somewhat of a Greek chorus, with Archie Roach crooning the beliefs each player seems to hold. And third, the violence becomes more gripping because of the way it’s presented– intercuts to Peter Coad’s paintings depicting the violence inflicted upon Aboriginal people in just a frame. These choices craft an entirely unique approach. Rolf de Heer’s approach takes a familiar Western plot but doesn’t adhere to the genre’s conventions and it’s totally fitting for a film actively examining a part of Australian history that most of the country wouldn’t want to talk about. And of course, it’s all tied together by The Tracker himself, by David Gulpilil’s powerful performance.

The soundtrack. Like it or hate it, there’s no denying that it adds a unique touch to the film.