Treading well-worn territory, Sciberras directs her own script about a teenage girl searching for her father. She chooses the literary staple of exorcising social demons in the crucible of country life, that is, admittedly, therapy for all. Big themes are frequently compressed into micro-communities of super heroes and arch villains dressed as shopkeepers and local police. It gives us all a sea-change as Diver Dan and his ilk get to grips with searing intrigue, secrets and lies in a distant, yet familiar, location. Watching is like being on holiday, safe in the knowledge that we can leave when things get messy.

Not so fortunate is young Emily (Thaine), stuck in a South Australian town where everyone makes it their business to be a part of everyone else’s business. Her mother (Porter) was abandoned, pregnant at fifteen, by her own disgusted parents and the man who ‘wandered into town like a tomcat’. Emily’s search for her father is going to cause trouble. Already complicating matters is an illicit affair with the Police chief’s son, and her mother’s job as a topless waitress.

The Caterpillar Wish is distinguished by excellent cinematography. Close focus and strong compositions bring a vibrancy to the production that elevates it from similar, television work. Sciberras builds tension nicely as various plot turns reveal themselves in unexpected ways. Thaine and Porter are solid but work hard to support those meant to support them. An intrusive score doesn’t help. Yet the real weakness lies in the over familiarity of Emily’s plight. For all its polish this isn’t especially fresh nor does the delivery break much in the way of new ground. However it’s a game try and a pleasing diversion on a wintry night at the cinema.

// COLIN FRASER