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.
"An imposing film that tackles a serious theme with dignity and even audacity and that features production values of the highest quality."
— David Stratton
Somewhere in Australia in the early 20th century outback, an Aboriginal man is accused of murdering a white woman. Three white men are on a mission to capture him with the help of an experienced Indigenous man.
Australia, 1922. After a white woman was murdered, a white police officer ventures out into the outback with a newcomer and a veteran to hunt down an Aboriginal suspect, with the help of an Aboriginal tracker he doesn’t trust.
The soundtrack. Like it or hate it, there’s no denying that it adds a unique touch to the film.
There are just some collaborations that just work. Rolf de Heer and David Gulpilil, who teamed up for two more films, is one such powerful collab.
Venice
1 nomination
