Rolf De Heer is hands down the best filmmaker in Australia. I hope he never has to struggle for financing. Each film he makes is unique and yet the only thing that unites them is his originality and intellectual depth. The Tracker, Alexandra's Project, Bad Boy Bubby, The Old Man who Read Love Stories; these are some of the best films this country has ever produced and he does it here again with Ten Canoes.In the 1930's, Dr Donald Thompson, an anthropologist, lived and worked with the Yolngu people of Arnhem Land in an effort to bridge cultural divisions. He took some four thousand plate glass photographs which encapsulated the lives and culture of the people. These extraordinary photographs were introduced to Rolf de Heer by his good friend and collaborator, actor David Gulpilil. (The Tracker, Storm Boy). It was the image of ten canoeists hunting for goose eggs in a swamp which inspired de Heer, and provides the setting for the black and white section of the film which stars David's son, Jamie. The film is said to mirror the photographs very closely. The other, more dramatic tale occurs in mythical time and is shot in glorious stark colors with roving Steadicams.The entire film is in the Yolngu language, save David's brief voice-over, though a Yolngu language version with no subtitles also exists. This film is without white people and convention, and is all the better for it. It tears apart barriers and utilizes story telling devices in a fresh style. I felt as though I was witnessing a new form of technique, a new language of cinema, (unlike Baz Booringhams overblown toss, Australia).It is a beautiful story, rich in drama, humor and culture. The photography of Ian Jones, de Heer's frequent associate, is magnificent. Watching the lush green aerials on the big screen, juxtaposed with quiet meanderings through swamps with thick, dark canopy's is truly awe-inspiring. I hope you are able to watch it on a big wide screen; in the cinema it was exquisite.This was a cinematic experience rarely felt, a freshness of approach with a master filmmaker in command, and yet this is also the Yolngu people's film. De Heer shares directing credit with Peter Djigirr which demonstrates the level of collaboration involved. For example, there was no such thing as casting. There are people living in the region who are descended from those in the Thompson photographs, therefore, they had the right to portray their ancestors. There were many other cultural considerations that shaped the entire story and made this the most unique Australian film ever made. It certainly feels like it. I knew I was watching something very special indeed. It deserved its A.F.I. (Australian Film Institute) win for Best Film.It's hard to pick a highlight, but Richard Birrinbirrin's honey addiction is hilarious. I felt proud as an Australian that somebody had actually bothered to connect with the indigenous people of this land and discover the rich resource of their culture which is still mainly foreign to us Balanda today. I cried also, for that very same reason.Any way you look at it, from a technical point of view, to its originality and stunning imagery, to a piece of celluloid as a cultural experience, Ten Canoes is truly remarkable.

The trailer does in no manner show what this movie is like. In fact The entire movie is quite well summarized in it. The story moves _extremly_ slow and does best mostly for a nap. If you would like to get the impression of the life in the bush, go ahead and watch it. I know for sure that I would rather have seen something else! Looking at the grades I feel like what I felt after seeing Serenity - the votes must come from only the dedicated fans... There is simply not more to write so the rest ends up as a free roll - sorry for that and I know it is against the guide lines. I just feel that... well.. It is not good and the only way that I can spread the word is by saying something and not only be some "stupid smock" giving it two when the statistics shows that it is okay. It simply is not okay.

This movie was released about 6 months back in Amsterdam in several movie halls, but not in the Pathe chain of theaters. So when during this summer festival it was released, I did not want to miss the opportunity to see this movie.This movie is set in a pre-historic setting among Aboriginal tribes of Australia who lived at the top most point on the Arnhem Land - Arafura swamp. The story is told as a fable (and a lesson) by an elder to a tribe youth who is attracted towards his elder brother's wife. In the movie there are two parallel stories – One, the elder telling a story to the youth, and second, the real story.I will tell you the real story – of warrior Ridjimiraril (Cruseo Kurddal) with three wives. His younger brother Yeeralparri (Jamie Gulpilil) getting attracted towards Ridjimiraril's youngest wives. The tradition says that if the older brother dies then the younger brother marries and takes care of the wives. A stranger (Michael Dawu) from another tribe visits the village and the elders of the village think that the stranger leaves behind evil spirits. One day, the middle wife of Ridjimiraril disappears and due to the suspicion on the stranger, Ridjimiraril kills a person from another tribe, but because he does not bury the body properly, the people of another tribe force and attack on this village and want Ridjimiraril to face the law of the land – i.e. avoid 150 spears thrown at him by another tribe by dancing (standing on one place). Ridjimiraril dances like a ghost to avoid spears coming at him but in the end one spear pierces his stomach. As his death comes near – as per the aboriginal traditions – when people from all tribes come to see his death. Ridjimiraril gets up and does the last death dance with music and songs being played all around him.There is a lesson that is passed on from centuries through such wonderful stories in the Aboriginal tribes of Australia that teaches people to differentiate from good and bad; and obviously it keeps the tradition alive.The narrator is the famous aboriginal scholar artist David Gulpilil.I was totally mesmerized by the movie. It took me off feat. It had such a powerful sense of energy in the narrative and characterization that everything felt real – so real that it gave a look of an documentary. But let us not forget – this was a movie, and people acting in the movie.Hats off to those actors from the tribe who – for the sake of keeping their history alive – came forward to do anything for this movie, without any hesitation. All the actors were naked – barely with any clothes on their body. Which Hollywood actor would be ready to show their full body exposure with so natural feel.I just fell in love with Crusoe Kurddal – who portrayed the role of Ridjimiraril to the hitch, so real – so historic. Wow!!!! What personality, what acting…!!!! It seems he went on his own to seek this role – and what life he brings to this role. The final death dance is the one that takes heart out of the body. The richness of the tradition just melts our soul away.The Director Rolf de Heer (who was born in Netherlands – where I stay now) has struggled since 1984 to make good movies and nurtured his skills so delicately to deliver this beautiful fable to us.The music, location, cinematography, editing, sound recording etc. every department is just perfect. Trying to find a fault in the narrative was a challenge.Worth a watch for cine-goers who love good movies. A gem in story telling, better than so much mafia, violence movies that have captured the top 100 movies list! Normally I hesitate giving higher ratings than 8 in my scale of 10. But with such a satisfying movie experience I would give… (Stars 8.25 out of 10)

"Ten Canoes" tells three stories: That of the storyteller himself, that the of hunt for geese and their eggs, and that of the ancestors -- especially their troubles and the consequences of their actions and relationship to the law. Midway through the second story, which bookends the mythical one, that interior storyteller (Elder Brother) states that Younger Brother is beginning to learn a lesson from the telling itself -- patience. Such patience is also required of the viewer, for the pace and structure of both the "today" story and the "mythical" have their an organic unfolding (metaphor: a growing tree) that is quite unlike that of most contemporary Hollywood movies, with their fast call to conflict and continuous conflict.I was struck by the transition of "today's" story from color to black and white as the mythical story is told, the showing of the mythical tale in color (which helped to separate it from the today story), and the dissolve to color in today time as the mythical telling ends.Water is the core of the story, as the river, the swamp, and rain are the images that open and close the movie. The tale begins, ends, and begins again.