Debuting director-writer Roderick MacKay uses classic Western formulas to reveal the unexpected racial diversity of 19th century caravan traders in Australia’s western desert.
in his debut feature, yet clearly the young writer-director knows how to sell his vision just as well as he knows how to make a movie.
Mal’s carrying stolen gold bars, though he can’t do anything with them because they’re stamped with an identifying crown; he needs to get them to a furnace so they can be melted down and reformed. Given his injuries, making a partnership with Hanif and his camels is the only way he’ll be able to get the bars to a smelter he knows, yet neither is willing to trust the other.
There’s nothing hidden here, and little that’s subtle: MacKay makes no secret of his intentions, which are to expand the history books and ensure that a suppressed chapter in his country’s development be acknowledged. This goes not just for the contributions made by Muslim, Sikh and Hindu caravan drivers to Australia’s development, but even more for the friendships they made with aboriginal people, brought together by the contempt of European descendants.
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