As previously noted, there is a sharp contrast between the style and standard of films made on either side of the Tasman Sea. Consider Once Were Warriors or Rain vs Under The Radar or One Perfect Day. Less concerned with shiny surfaces, New Zealand cinema lifts rocks to poke around human activity squirming in the half light. And in a small, South Island community there is a lot of squirming going on. Paul (Matthew Macfadyen) returns after an absence of seventeen years for his father’s funeral. His brother is resentful, townsfolk are wary of the stranger. Paul passes time reconciling with the dark events of his past: his mother’s death, his father’s secret hideaway and a teenage romance that may have led to an estranged daughter (Emily Barclay). They develop a strong friendship until he becomes the prime suspect in her sudden disappearance.

Undoubtedly one of Australasia’s best films, In My Father’s Den distinguishes itself on so many levels. Writer/director Brad McGann’s exceptional script is a densely layered, interconnected affair that captures the fearful emotion of its characters, morphing through different thematic moods and styles without loosing touch of its purpose. Devious without being tricky, confounding without being confusing, the plot twists and emotional turns create a chilly air of expectation as McGann reveals the way each character deals with hope. Barclay is a revelation as she drives an exceptional cast through some of the most tender, thoughtful and provocative performances you may ever see. Not only is McGann is a gift to the film industry; In My Father’s Den sets a new benchmark in filmmaking.
// COLIN FRASER