Crime / Drama / Mystery / Thriller

Rotten Tomatoes Critics - Certified Fresh 65%
IMDb Rating 6.3 10 6,288


Downloaded times
August 12, 2020



Gabriel Byrne as Daniel Graham
John Howard as Burgies CEO
Laura Linney as Claire
720p.WEB 1080p.WEB
1.07 GB
English 2.0
23.976 fps
123 min
P/S N/A / N/A
2.19 GB
English 2.0
23.976 fps
123 min
P/S N/A / N/A

Movie Reviews

Reviewed by AtomicAce 4 / 10 / 10

Promising story but ultimately unsatisfying

There are similarities between Ray Lawrence's "Jindabyne" and his last movie "Lantana" – a dead body and its repercussions for already dysfunctional lives. But whereas "Lantana" offered some hope and resolution, "Jindabyne" leaves everything unresolved in a bleak way that will leave most viewers unsatisfied, perhaps even cheated. The storyline - the aftermath of a fisherman's discovery of a corpse floating in a remote river - is based on a short story by Raymond Carver. It became an element in Robert Altman's classic 1993 ensemble "Short Cuts". Lawrence uses this theme for an exploration and exposition of relationships within a small Australian community under stress. The movie poses some moral questions "Would you let the discovery of a dead body ruin your good weekend?" and more poignantly for Australians "Would it make any difference if the dead person was an aboriginal?" The acting, especially by Gabriel Byrne and Laura Linney, is commendable. And there are elements of mysticism reinforced by haunting music, not unlike "Picnic at Hanging Rock". If all this sounds like the basis for a great movie - be prepared for a let down, the pace is very slow and the murder is shown near the beginning, thereby eliminating the element of mystery. And so we are left with these desolate lives and a blank finale.

Reviewed by rva57380 7 / 10 / 10

so many unanswered questions?

Maybe I missed the message entirely, but I was disappointed. OK, the film relies heavily on mood and emotion rather than action, as many Aussie films seem to do. I can see that it can be taken as an allegory for the white man's invasion of the aboriginal's world - the rape and murder of black by white is followed by callous disregard by white men who come after - but is this really the message? Stewart's reaction when he finds the body is hardly uncaring, it's more like hysterical. And did the killer deliberately choose the aboriginal girl for his victim? The way he lay in wait behind the rocks makes it look random. What is the significance of Caylin-Calandria's absurd name? Why does she kill the guinea-pig? Is this supposed to show her as 'evil'? after all, she appears to have evil intent when Tom almost drowns. Is there any significance in the guinea-pig being black? There are a number of scenes that -to me, at least - add nothing to the movie, and only confuse the story. Why is the killer shown uncovering the victim's car in his shed, and pulling off the P plate? The car being there obviously puts him at risk of being caught, but nothing comes of it. Why does the killer try to force Claire off the road in the same way he did to his victim - reminiscent of the Peter Falconio killer - is this meant to throw suspicion on him in Claire's mind? Nothing comes of it. When Claire shows up at the aboriginal's spirit-smoking ceremony, some mourners resent her intrusion and threaten her - yet the killer is there too, watching from the sidelines, but no-one questions or objects to his presence. One thing that did amuse me is the apparent nod the director gives to the movie 'Duel' in the way the FJ45 Landcruiser appears to menace its 'victims' - the close-up view in the mirror, the revving overtaking maneuver, the heavy diesel idling when it's lying in wait, all look familiar. And, like the truck in Duel, it stops and waits up ahead after it has given Claire a scare. Sure, we see the driver in this one, unlike Duel, but I thought there was a parallel.

Reviewed by Philby-3 7 / 10 / 10

Guilt in a Glorious setting

This is an intriguing, evocative and multilayered film superbly acted and wonderfully filmed (mostly in single takes, it seems). It is also rather slow and meandering, and problematic. The basic plot could be set almost anywhere – failure of personal relationships in the context of a failure of civic duty, but Ray Lawrence has chosen to adapt Raymond Carver's short story of the fishermen who took their time over reporting finding a woman's body to a highly specific place, Jindabyne, NSW, and to include the vexed question of black/white relationships in Australia. As is pointed out in one of those awful cheery 1960s documentary being shown to the kids in the local primary school, the present day Jindabyne is a "second chance" sort of place, the old town having disappeared under the waters of Lake Jindabyne during the creation of the Snowy Mountains Hydro Scheme, though at very low water levels the old church steeple is said to poke out of the water. Unfortunately, as we are shown in the opening sequence there is still evil in the new town in the shape of the local electrician (Chris Heywood, very nasty), who likes to hunt and kill young women. It is his victim's body the four fishing buddies, Stewart, Carl, Rocco and Billy, find in the stream, tie to a log, fish for a day, and then the next morning decide to raise the alarm. When it becomes public that the four delayed reporting their find to go fishing (why didn't they lie about when they found the body?) there is a predictable uproar. The dead woman was aboriginal and the local aboriginals are particularly upset since they see this as symptomatic of whitey attitudes). Rocco's aboriginal girlfriend is not impressed. But the greatest emotional impact falls on Stewart (an Irishman) and his American wife Claire whose relationship is already rocky. At one point I thought Claire was going to crack the case, but instead we get a literally hazy scene where some kind of reconciliation between black and white is attempted. After seeing the superb "Ten Canoes" recently I found the whole aboriginal storyline contrived. What I did think was very powerful and affecting was the portrayal of a damaged marriage. Gabriel Byrne does not put a foot wrong as Stewart, an ordinary bloke resigned to what little emotional comfort he can get from his family, and Laura Linney gives great depth to her role as his wife Claire, a woman for whom motherhood is a daunting task. The rest of the cast are fine. Debra-Lee Furness as Carl's wife Jude makes a dislikeable character understandable, John Howard as Carl puts in a solid performance and there are two good performances from child actors Eva Lazzaro as Jude's disturbed granddaughter, and Sean Rees-Wemyss as Stewart and Claire's son Tom. Ray Lawrence clearly did not set out to create a crime story but he certainly shows that crime can have some unexpected collateral damage. He also has contributed to the "Cinema of Unease", a phrase Sam Neill once used to describe New Zealand cinema, by setting a story about personal and public guilt in such a glorious setting.

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