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Current status - Released
Total runtime - 136 mins.
Release date - 23-09-2018
Release year - 2018
Genres - Drama, Thriller
Overall ratings and scores for The Nightingale:
Happiness Score - 7.164/10, World Popularity Score - 17.399/100, IMDB Score - 7.3, Metascore - 77, Internet Movie Database - 7.3/10, Rotten Tomatoes - 86%, Metacritic - 77/100, .
The Nightingale movie has Total Global Votes - 437, Total IMD Votes - 31,887
The Nightingale Movie Introduction: Movie The Nightingale, release year 2018 is written by Jennifer Kent and directed by Jennifer Kent. The leading star-cast in this movie are Aisling Franciosi, Maya Christie, Baykali Ganambarr along with the other stars and crew members.
Trailers, Clips, Featurettes and Behind the Scenes
Movie overview and plot by Anagha Shashank
Movie in-short: Set in 1825, Clare, a young Irish convict woman, chases a British officer through the rugged Tasmanian wilderness, bent on revenge for a terrible act of violence he committed against her family. On the way she enlists the services...
Movie story-line: In 1825, Clare, a 21-year-old Irish convict, chases a British soldier through the rugged Tasmanian wilderness, bent on revenge for a terrible act of violence he committed against her family. She enlists the services of an Aboriginal tracker who is also marked by trauma from his own violence-filled past.
Movie synopsis: THE NIGHTINGALE is a meditation on the horrors of Australian colonization, set at the turn of the 19th century. The film follows Clare, a 21-year-old native Irish wife and mother held captive beyond her 7-year sentence, desperate to be free of her obsessed master, British lieutenant Hawkins. Clare's husband Aidan intervenes with devastating consequences for all. When British authorities fail to deliver justice, Clare pursues Hawkins, who leaves his post suddenly to secure a captaincy up north. Unfamiliar with the Tasmanian wilderness she enlists the help of an orphaned Aboriginal tracker Billy. Marked by their traumas, the two fight to overcome their distrust and prejudices against the backdrop of Australia's infamous 'Black War'.
Highlights - The Nightingale (2018)
Total budget - $0.00
Total revenue - $855,756.00
Produced by -
Produced in - Australia
Available languages - English (English), Irish (Gaeilge),
Homepage URL - https://www.transmissionfilms.com.au/films/the-nightingale
Awards won / Nominations - 25 wins & 37 nominations
Certificate(s) - PL : 16 US : R SE : 15 NO : 18 TH : MA15+ TH : MA15+ TH : MA15+ AU : 18
Lead Actors, Writer(s), Director(s) of The Nightingale (2018)
Lead Actors - Aisling Franciosi, Maya Christie, Baykali Ganambarr
Writer(s) - Jennifer Kent
Director(s) - Jennifer Kent
Frequently Asked Questions(FAQ) about The Nightingale (2018)
What is the release date of The Nightingale (2018)?
Release date of The Nightingale (2018) is 23-09-2018.
What is the total runtime of The Nightingale (2018) in minutes?
Total runtime of The Nightingale (2018) in minutes is 136 min.
What is the budget consumed to produce The Nightingale (2018) movie?
The budget consumed to produce The Nightingale (2018) movie is around $0.00.
How much revenue is expected from movie The Nightingale (2018)?
Expected revenue from movie movie The Nightingale (2018) is around $855,756.00.
What is the pupularity of The Nightingale (2018)?
Worldwide pupularity of The Nightingale (2018) movie is 17.399%.
What is the name of the production company of film The Nightingale (2018)?
Production company of film The Nightingale (2018) is/are .
Which country the film The Nightingale (2018) is produced in?
Film production country for the film The Nightingale (2018) is Australia, .
Which language the film The Nightingale (2018) is produced in?
Film The Nightingale (2018) is produced in English (English), Irish (Gaeilge), language(s).
Which Genre the film The Nightingale (2018) belongs to?
Movie The Nightingale (2018) is categorized under Adventure, Drama, Thriller genre(s).
Who are the lead actors of the film The Nightingale (2018)?
Lead actors of the film The Nightingale (2018) are Aisling Franciosi, Maya Christie, Baykali Ganambarr.
Who is the writer of the film The Nightingale (2018)?
The writer(s) of the film The Nightingale (2018) is/are Jennifer Kent.
Who is the director of the film The Nightingale (2018)?
The director(s) of the film The Nightingale (2018) is/are Jennifer Kent.
Which awards, nominations and recognitions are won by The Nightingale (2018) movie?
Movie The Nightingale (2018) has 25 wins & 37 nominations awards and nomination in it's profile.
What is the story of The Nightingale (2018) in-short?
Short plot of movie The Nightingale (2018): Set in 1825, Clare, a young Irish convict woman, chases a British officer through the rugged Tasmanian wilderness, bent on revenge for a terrible act of violence he committed against her family. On the way she enlists the services....
What is the full story of The Nightingale (2018) movie?
Full plot of movie The Nightingale (2018): THE NIGHTINGALE is a meditation on the horrors of Australian colonization, set at the turn of the 19th century. The film follows Clare, a 21-year-old native Irish wife and mother held captive beyond her 7-year sentence, desperate to be free of her obsessed master, British lieutenant Hawkins. Clare's husband Aidan intervenes with devastating consequences for all. When British authorities fail to deliver justice, Clare pursues Hawkins, who leaves his post suddenly to secure a captaincy up north. Unfamiliar with the Tasmanian wilderness she enlists the help of an orphaned Aboriginal tracker Billy. Marked by their traumas, the two fight to overcome their distrust and prejudices against the backdrop of Australia's infamous 'Black War'..
Where to find full details of The Nightingale (2018) movie?
You can find the full details of movie The Nightingale (2018) at https://www.imdb.com/title/tt4068576
Where to stream or watch movie The Nightingale (2018) online?
You can stream or watch online movie The Nightingale (2018) on Amazon Prime Video, Amazon Video, Apple iTunes, Google Play Movies, Rakuten TV, Chili, maxdome Store, Sky Store, Microsoft Store, YouTube, Telstra TV, Fetch TV, Beamafilm, Netflix basic with Ads, Cineplex, Shudder Amazon Channel, Shudder, MUBI, AMC+ Amazon Channel, Tubi TV, blue TV, MagentaTV, HBO Max, Filmstriben, SF Anytime, Blockbuster, Viaplay, Telia Play, Orange VOD, Filmo TV, Canal VOD, Universcine, Cinemas a la Demande, BFI Player, Curzon Home Cinema, Hulu, dTV, Strim, TriArt Play, Tele2 Play, Cineasterna, AMC+ Roku Premium Channel, DIRECTV, Kanopy, .
List of full Starcast and crew members of The Nightingale (2018)
Full Starcast:
Name: Aisling Franciosi
Character: Clare
Name: Sam Claflin
Character: Hawkins
Name: Baykali Ganambarr
Character: Billy
Name: Damon Herriman
Character: Ruse
Name: Harry Greenwood
Character: Jago
Name: Ewen Leslie
Character: Goodwin
Name: Charlie Shotwell
Character: Eddie
Name: Michael Sheasby
Character: Aidan
Name: Matthew Sunderland
Character: Davey
Name: Magnolia Maymuru
Character: Lowanna
Name: Christopher Stollery
Character: Major Bexley
Name: Nathaniel Dean
Character: Stoakes
Name: Claire Jones
Character: Harriet
Name: Dallas Mugarra
Character: Lowanna's Husband
Name: Sam Smith
Character: Sheep Farmer
Name: Ben McIvor
Character: Dull Convict
Name: Anthony Phelan
Character: Trader
Name: Maggie Blinco
Character: Old Woman
Name: Alan Faulkner
Character: Old Man
Name: James O'Connell
Character: Escaped Convict
Name: Luke Carroll
Character: Archie
Name: Charlie Jampijinpa Brown
Character: Uncle Charlie
Name: Eloise Winestock
Character: Luddy
Name: Huw Higginson
Character: Magistrate
Name: Breanna Geer
Character: Launceston Townfolk
Crew Members:
Name: Nikki Barrett
Department: Production
Job/Role: Casting
Name: Bruna Papandrea
Department: Production
Job/Role: Producer
Name: Steve Hutensky
Department: Production
Job/Role: Producer
Name: Jennifer Kent
Department: Directing
Job/Role: Director
Name: Jennifer Kent
Department: Production
Job/Role: Producer
Name: Jennifer Kent
Department: Writing
Job/Role: Writer
Name: Ben Browning
Department: Production
Job/Role: Executive Producer
Name: Jed Kurzel
Department: Sound
Job/Role: Original Music Composer
Name: Jim Everett
Department: Production
Job/Role: Associate Producer
Name: Radek Ładczuk
Department: Camera
Job/Role: Director of Photography
Name: Margot Wilson
Department: Costume & Make-Up
Job/Role: Costume Design
Name: Alex Holmes
Department: Art
Job/Role: Production Design
Name: Sophie Nash
Department: Art
Job/Role: Art Direction
Name: Aaron L. Gilbert
Department: Production
Job/Role: Executive Producer
Name: Elene Pepper
Department: Crew
Job/Role: Post Production Supervisor
Name: Marty Pepper
Department: Visual Effects
Job/Role: Visual Effects Supervisor
Name: Larry Van Duynhoven
Department: Costume & Make-Up
Job/Role: Prosthetic Supervisor
Name: Sheldon Wade
Department: Costume & Make-Up
Job/Role: Key Hair Stylist
Name: Jocelyn Thomas
Department: Art
Job/Role: Art Department Coordinator
Name: Matt Nettheim
Department: Camera
Job/Role: Still Photographer
Name: Kristina Ceyton
Department: Production
Job/Role: Producer
Name: Simon Njoo
Department: Editing
Job/Role: Editor
Name: Jason Cloth
Department: Production
Job/Role: Executive Producer
Name: Gaetano Lagana
Department: Crew
Job/Role: Scenic Artist
Name: Peter Hicks
Department: Production
Job/Role: Location Manager
Name: Jed M. Dodge
Department: Sound
Job/Role: Dialogue Editor
Name: Robert Mackenzie
Department: Sound
Job/Role: Sound Designer
Name: Matt Jordin
Department: Art
Job/Role: Greensman
Name: Nikki Gooley
Department: Costume & Make-Up
Job/Role: Hair Designer
Name: Nikki Gooley
Department: Costume & Make-Up
Job/Role: Makeup Designer
Name: Nikki Gooley
Department: Costume & Make-Up
Job/Role: Makeup & Hair
Name: Steve Daddow
Department: Crew
Job/Role: Stunt Double
Name: Philli Anderson
Department: Crew
Job/Role: Stunt Double
Name: Judd Wild
Department: Crew
Job/Role: Stunt Coordinator
Name: Brenda Gilbert
Department: Production
Job/Role: Executive Producer
Name: Grant Adams
Department: Camera
Job/Role: Camera Operator
Name: Grant Adams
Department: Camera
Job/Role: Steadicam Operator
Name: Susie Struth
Department: Directing
Job/Role: Script Supervisor
Name: Lyn Askew
Department: Costume & Make-Up
Job/Role: Costume Supervisor
Name: Greg Hajdu
Department: Art
Job/Role: Construction Manager
Name: Ruru Reedy
Department: Lighting
Job/Role: Gaffer
Name: Ron Coe
Department: Camera
Job/Role: First Assistant "A" Camera
Name: Brian Nickless
Department: Art
Job/Role: Set Designer
Name: Tara Webb
Department: Sound
Job/Role: Sound Effects Editor
Name: Andrew Pollack
Department: Production
Job/Role: Executive Producer
Name: Leah Katz
Department: Sound
Job/Role: Dialogue Editor
Name: Anna Burstall
Department: Costume & Make-Up
Job/Role: Key Costumer
Name: Glenn Arrowsmith
Department: Camera
Job/Role: Key Grip
Name: Lynne Vincent McCarthy
Department: Writing
Job/Role: Script Editor
Name: Chris Webb
Department: Directing
Job/Role: First Assistant Director
Name: Hannah Andrews
Department: Production
Job/Role: Production Coordinator
Name: Evans Mark
Department: Visual Effects
Job/Role: Visual Effects
Name: Genevieve Bevan-John
Department: Crew
Job/Role: Pyrotechnician
Name: Mick Corrigan
Department: Crew
Job/Role: Stunt Double
Name: Will Sheridan
Department: Sound
Job/Role: Sound Recordist
Name: Tim Riach
Department: Crew
Job/Role: Special Effects
Name: Kabir Singh
Department: Lighting
Job/Role: Best Boy Electric
Name: Wade Savage
Department: Production
Job/Role: Production Manager
Name: Philip Fraschetti
Department: Visual Effects
Job/Role: Digital Compositor
Name: Christian Petersen
Department: Art
Job/Role: Set Decoration
Name: Lauren Widdicombe
Department: Costume & Make-Up
Job/Role: Truck Costumer
Name: Justin Meinesz
Department: Camera
Job/Role: Grip
Name: Darryl Murphy
Department: Camera
Job/Role: Grip
Name: Glenn Finnan
Department: Sound
Job/Role: Sound Recordist
Name: Alison Cohen
Department: Production
Job/Role: Executive Producer
Name: Mark Rodgers
Department: Camera
Job/Role: Still Photographer
Name: Nicole Lazaroff
Department: Sound
Job/Role: Sound Recordist
Name: Srinivas Janapati
Department: Visual Effects
Job/Role: Visual Effects Coordinator
Name: Bryn Bayliss
Department: Visual Effects
Job/Role: Digital Compositor
Name: Mark Kraus
Department: Production
Job/Role: Production Accountant
Name: Francis Byrne
Department: Sound
Job/Role: Sound Recordist
Name: Eucla Davies
Department: Crew
Job/Role: Special Effects
Name: Kristin Kruger
Department: Production
Job/Role: First Assistant Accountant
Name: Amanda Crittenden
Department: Production
Job/Role: Line Producer
Name: Edward Yates
Department: Costume & Make-Up
Job/Role: Prosthetic Designer
Name: Edward Yates
Department: Costume & Make-Up
Job/Role: Prosthetic Makeup Artist
Name: Liz Goulding
Department: Costume & Make-Up
Job/Role: Makeup Artist
Name: Dean Ryan
Department: Sound
Job/Role: Sound Mixer
Name: Bree Whitford
Department: Visual Effects
Job/Role: Visual Effects Producer
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Reviews Section
Even with its flaws, this feminist Western is too violent, too dirty, too bloody, and too barbaric to be forgotten easily. When the lights in the cinema came on, the woman next to me was crying and, a few rows over, someone murmured that they had now had PTSD. 'The Nightingale’ is not an easy film to watch and certainly not one to expect to come out of laughing or feeling terrific. But it will make you will feel something, which is a rare thing for a film to be able to do today. - Jake Watt Read Jake's full article... https://www.maketheswitch.com.au/article/review-the-nightingale-a-blunt-and-brutal-period-piece Head to https://www.maketheswitch.com.au/sff for more Sydney Film Festival reviews.
**_A superb, albeit harrowing drama about colonial violence, misogyny, and racism_** >_Whether the Blacks deserve any mercy at the hands of the pioneering squatters is an open question, but that they get none is certain. They are a doomed race, and before many years they will be completely wiped out of the land._ - Harold Finch-Hatton; _Advance Australia! An Account of Eight Year's Work, Wandering and Amusement in Queensland, New South Wales and Victoria_ (1885) >_If Judas Chamberlain can find a black, or brown or yellow race in Asia or Africa, that has as high a standard of civilisat__ion and intelligence as the whites, that is as progressive as the whites, as brave, as sturdy, as good nation-making material, and that can intermarry with the whites without the mixed progeny showing signs of deterioration, that race is welcome in Australia regardless of colour._ - _The Bulletin_ (June 22, 1901) >_The land is my mother. Like a human mother, the land gives us protection, enjoyment and provides our needs – economic, social and religious. We have a human relationship with the land: mother, daughter, son. When the land is taken from us or destroyed, we feel hurt because we belong to the land and we are part of it._ - Djiniyini Gondarra; Quoted in Ian R. Yule (ed.), _My Mother the Land_ (1980) >_The attacks on the character and the efficiency of Van Diemonian smallholders bear striking similarities to those made on the Irish and Scottish at this time. In both cases unfavourable contrasts with both 'old English' (hierarchical ordered rural society) and 'new English' (improved and efficient agricultural productivity) were commonly made. In both cases the people were seen to be, if not quite 'savages', at least not fully 'civilised.' And in the penal colony, just as with the Celtic fringe, this judgement was to justify eviction and rigorous social control measures which would deliver exclusive 'ownership' and control of the most productive land to a powerful and privileged elite._ - James Boyce; "An environmental history of British settlement in Van Diemen's Land: The making of a distinct people, 1798- 1831" (2006) Hollywood has always had a curious relationship with colonialism. Whilst the British colonisation of the Americas tends to be frowned upon, one of the most popular genres of all-time, the western, was, for many decades, an un-ironic celebration of the white mans' subjugation of the Native American populace. It was only with the revisionist westerns of directors such as John Ford, John Sturges, Sam Peckinpah, and Sergio Leone that the genre began to embrace introspection, deconstructing its own codes and rendering problematic its colonialist tropes. Written and directed by Jennifer Kent, _The Nightingale_ could certainly be categorised as a revisionist western, albeit set in Van Diemen's Land (modern-day Tasmania), an island about 150 miles off the southeast coast of Australia, but it's probably more accurate to class it as a colonial revenge. On the surface, it's very much a genre picture, a rape/revenge drama set in a western _milieu_. However, as it progresses, it gradually reveals itself as less concerned with hitting genre beats than engaging with issues such as racism, misogyny, innocence, the fine line between barbarism and civilisation, and the cathartic potential of violent revenge (or possible lack thereof). Much as Kent's debut, the exceptional _The Babadook_ (2014), was a horror in name only, its genre serving as a means to a thematic end, so too with _The Nightingale_. Brutally violent (but never gratuitously so), extremely unpleasant, and downright nihilistic at times, it's not going to pack them in at the multiplex, but for those who think of cinema as art first, entertainment second, this is an important, relevant, and mature study of mans' innate capacity for cruelty. Van Diemen's Land, 1825. A British penal colony, the island is in the midst of the Black War, with the British army attempting to eradicate the indigenous Palawa population. In an isolated colony, Clare Carroll (a star-making turn from Aisling Franciosi) and her husband Aidan (Michael Sheasby) are Irish convicts with an infant daughter, indentured to garrison commander Lt. Hawkins (an odious Sam Claflin). Convicted of petty theft in Ireland over seven years prior, Clare has served her sentence and is waiting for Hawkins to sign her long overdue letter of recommendation, which would render her and Aidan free citizens. However, Hawkins, who calls her his Nightingale on account of her beautiful singing voice, responds by raping her, and not for the first time. Meanwhile, Cpt. Goodwin (Ewen Leslie) visits the colony to evaluate Hawkins for promotion and a more prestigious command. The night after the rape, Aidan drinks too much and gets into a brawl with Hawkins, the sadistic Sgt. Ruse (Damon Herriman), and the naïve Pvt. Jago (Harry Greenwood). Seeing the brawl, and already unimpressed with the conduct of Hawkins's men, Goodwin tells him he will not be recommending him for promotion. Infuriated, Hawkins orders Ruse and Jago to accompany him on foot through the treacherous bush to Launceston, where he intends to make an in-person appeal for promotion to army brass. However, before they leave, Hawkins and Ruse rape Clare and brutalise Aidan and their baby. And so, determined to exact revenge, she sets off in pursuit of the trio, hiring "Billy" Mangana (an exceptional debut from dancer Baykali Ganambarr), a Palawa tracker and one of the last of his people, who hates whites as much as Clare hates Hawkins. Having spent over five years researching the frontier wars, Kent made _The Nightingale_ in collaboration with Palawa elders, with the story of Clare and Billy serving as Australia-specific synecdoche for the general oppression and violence of British colonialism. Both Clare and Billy have been deeply wronged by colonialists – her as a convict and woman, him as a Palawa. However, one of Kent's masterstrokes is to complicate their dynamic, whereby neither is capable of seeing their similarity to one another, with both convinced their racist point of view is legitimate. When Clare is first told she'll need a Palawa tracker, she responds, "_I'm not travelling with a black. I'll end up in someone's pot of dinner_". And in literally the next scene, when Clare tries to hire Billy, his response is, "_I'm not working for a bloody white woman._" It doesn't matter to him that Clare is in Van Diemen's Land against her will – she's part of the white race that has murdered his people and taken his land. At the same time, her view of him is based on the crudest of colonial stereotypes – that all Aborigines are cannibalistic savages. Indeed, for much of the first half of the film, she refers to him as "_boy_" rather than his actual name and exerts her authority over him in a not entirely dissimilar manner to how Hawkins exerts his authority over her. However, it's not exactly a spoiler to say that much of the film concerns itself with the duo coming to understand the oppression experienced by the other, recognising their parallel experiences. Indeed, in one of the strongest scenes in the film, their first real connection comes as they sit at an open fire, each cursing their oppressors in their respective native tongue, linguistically rebelling by rejecting the colonial signifiers and codes. In the hands of a lesser director, their story arcs could easily devolve into the worst kind of facile and clichéd movie sentimentality. Kent, however, keeps everything so grounded in bleak reality, the character beats so organic, and the themes so understated (there are no "cry now" moments), that virtually every stage of the relationship rings true, with unnecessary, authorial imposed plot never overwhelming characterisation. Hawkins, for his part, is a representative of the worst aspects of British colonialism, not just the kind of jingoistic and xenophobic thinking that made such colonialism possible, but so too the misogyny, racism, and savagery that underpinned the formation of the largest empire in human history (at its largest (around 1920), the British Empire included 23% of the world's population and covered 24% of the globe). Crucially, however, Hawkins is utterly banal; believing himself destined for greatness, he's incapable of accepting what is apparent to Goodwin and the audience – he's a poor officer, an amoral and mediocre man whose lofty ambitions infinitely outweigh his negligible potential. He's a symbol of the toxic masculinity that engendered colonialism, but so too is he a flesh-and-blood person with characteristics relatively unrelated to his savagery. This is important insofar as, yes, he's an irredeemable monster, but he's never a pantomime villain. Although, on the surface, _The Nightingale_ is a rape/revenge genre piece, Kent argues that this is to miscategorise the film, telling _BUILD_, >_it's being classed as a rape/revenge film because it's got rape in it and people who are feeling the need for vengeance, but it doesn't follow any of the tropes of that genre. In fact, if people who like those kinds of films come and see it, they're going to be infinitely disappointed, because it provides no catharsis. It actually kicks up the question of why are you wanting revenge in that way. Do you really believe it? It's a fantasy, this idea that revenge provides catharsis, it's largely a fantasy._ This is an important point, as one of the film's main themes is whether revenge can lead to peace of mind. Does revenge provide fleeting satisfaction, even though it's ultimately futile, or is it a necessary and important part of the healing process? Most troublingly of all, however, Kent asks, irrespective of one's awareness of the heavy psychological cost of violent revenge, are there acts which are so abhorrent, inhuman, and evil that revenge is the only possible response. And if so, how does one reconcile the futility of revenge with its necessity? From an aesthetic point of view, as one would expect from the makers of _The Babadook_, _The Nightingale_ looks exceptional. Kent and cinematographer Radek Ladczuk shot the film in Academy ratio (1.37:1), with the claustrophobic nearly square frame trapping the characters within it, in direct opposition to the vast open plains in which they often find themselves. Especially important are the BCUs of faces, particularly the recurring motif of shooting from above characters as they lie on their back looking up into the sky, usually at night time. Faces in general, and Clare's in particular, are the film's roadmap insofar as the violence is never abstract; it happens to a person, not a depersonalised body, and it has real consequences – compare, for example, Clare's face prior to and after the second rape, with Franciosi's exceptionally modulated performance communicating more than language ever could. Indeed, the economy of Kent's visual language is evident from the opening scene, which sees Clare walking through the bush with her baby, as the camera shows us she's carrying a knife – establishing her independence and strength of character whilst also communicating how dangerous this place is, all without a word of dialogue. Much has been made of the film's violence, particularly the scene where Hawkins and Ruse rape Clare. At both screenings at the Sydney Film Festival, multiple audience members walked out, and North American distributors IFC included a trigger warning independent of the MPAA rating details, stating, "The Nightingale _features potentially triggering acts of sexual violence towards women, violence towards children and violence motivated by racism._" Personally, although I found the rape scenes disturbing, I didn't think they were as bad as has been made out, and if you've survived films such as Wes Craven's _The Last House on the Left_ (1972), Lukas Moodysson's _Lilja-4-ever_ (2002), or Gaspar Noé's _Irréversible_, you'll be fine with _The Nightingale_. In any case, the violence (whether sexual or otherwise) is never gratuitous, exploitative, or immature – Kent is no Quentin Tarantino; violence in her work has stomach-churning consequences, and when she chooses to show such violence, there is always a point, whether it be thematic or character-driven, it's never arbitrary violence-for-violence's-sake, or worse, violence-for-titillation's-sake. In terms of problems, as the Sydney screenings attest, the brutality on display will simply be too much for some – this most definitely is not a date movie, or a popcorn movie, or a popcorn date movie – it's dark, brutal, and unrelenting and it asks a lot of the audience. I didn't see this as a problem myself, but certainly, some people believe cinema should entertain, and entertain only, and if you're of that mindset, you'll get nothing from _The Nightingale_. A more objective criticism is that at 136 minutes, it's a tad too long, and it does lapse into repetition from time to time – if the middle act had been tightened up a bit, cutting maybe 10 or 15 minutes, it would have played better. The _dénouement_ is also somewhat rote, which is disappointing given the strength of the filmmaking leading us to that point. I wouldn't necessarily say it doesn't work, but it's the only part of the where it feels like a genre piece. These issues aside, however, this is exceptionally strong filmmaking. With not a hint of sentimentality in its unflinching depiction of the horrors inherent in the subjugation of an entire people, _The Nightingale_ confirms Kent as a major _auteur_ with a distinctive voice and the courage to remain true to her subject-matter, however abhorrent such truth might be.
Jennifer Kent delivered one of the best horror movies of the decade, The Babadook. With The Nightingale, only her second feature film, she offers one of the most visually brutal, shocking, jaw-dropping, violent revenge stories ever. This movie is the definition of “not for everyone.” Rating: A-
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