I agree with most of the comments on this film-it is very Australian, in spite of its Dutch/Polish roots, the acting is spot-on, with one possible exception, the chemistry between the two leads is palpable, and there are no false notes right up to the end. One quibble another reviewer had is about the cop that shows up unbidden every time something unusual goes down at the main character's house which is, to say the least, off the beaten track and not on anybody's nightly rounds. That happens two or three times in the film. The connection seemed pretty clear to me from the first. Another reviewer mentioned the tacit acceptance of human trafficking in the local metropolis (Boonah and/or Beaudesert, near Brisbane). There's your answer. The only problem I had with the film is its ending. It wraps up one major story point, but opens up two or three new ones, then leaves them unresolved: After a life-and-death struggle (I won't say with whom) the two main characters are left alive, reunited and intact at the end, all dressed up-he's wearing a suit for the first time-but in what is clearly a jail or detention center of some kind, although they are not behind bars. Who is "inside" and who is out is not made clear. Where did this come from? True-she's an undocumented alien, and now that her main concern has been resolved, maybe she's just planning to leave Australia for home, but none of that has come up before, and why is he wearing a suit? What is about to happen? Are they getting married, or what? The two main characters have been bonding slowly until this point-and suddenly it's all over? There may be a simple answer, but the scene was so unexpected that it seemed like a damaged print. That startling non-ending is my only reason for giving the film a "7" instead of a 9 or 10.

Normally, I tend to avoid re-made films like the plague. I had no prior knowledge that 'Unfinished Sky' was a Australian re-make of a 1998 Dutch film entitled 'The Polish Bride',about two damaged souls being thrown together by chance. In this case, it's about a sheep farmer who finds a wounded Afghan woman on his property,who has escaped from a life most nasty (she was brought into the country as an illegal alien to work in the sex industry). Little by little, the lives of the two begin to come together,despite the fact that neither speak the others language. Despite this, they overcome the usual obstacles. The film does manage to gloss over some details about the woman (actually played by the same actress that played in the Dutch original),but does wear it's heart on it's sleeve,rather nicely. As this film has no U.S. distributor, it may be a bit of a find. Worth taking a look at (especially if you've seen the original version).

Yet another small Australian movie made with government money with lots of outback (or at least country) photography featuring laconic Aussie blokes (or one anyway) faced with something strange and sinister. Its origins are in fact Dutch – it is a re-make by Peter Duncan ("Passion" and "Children of the Revolution") of a 1998 Dutch film "The Polish Bride". Sheepfarmer John (William McInnes) has his solitary breakfast interrupted by the arrival of Tahmeena (Monic Hendrickx), a distraught woman who speaks no English. As he suspects she might be an illegal immigrant he takes her in and attempts to communicate with her. He also happens to hear of the disappearance of a cleaner from the pub in the nearby town. Without giving too much away, he finds some longstanding local acquaintances of his have been up to no good, and this leads up to a suspenseful climax.One common complaint about Australian films is the weakness of the scriptwriting. The writers here have given us some very spare dialogue. Tahmeena speaks only her own language and John doesn't speak much anyway. But both main characters have interesting back stories which are revealed gradually through the film. I'm not sure about the ending – there are one or two loose ends flapping about, but it's reasonably upbeat.William McInnes is just superb as farmer John, a man just going through the motions of existence before the exotic Tahmeena arrives at his place, and then jolted into caring for someone again. As an actor he has a good range – compare this performance with the rugged urban type he played in "Look Both Ways" a couple of years ago. Monic Hendrickx, playing 10 years later the same role as she did in "The Polish Bride", is completely convincing as the desperate refugee. David Field as the local cop also gives a good performance and I also must mention Elvis the dog, one of the more personable canines seen on screen lately.This struck me as a reasonably commercial film, like "Wolf Creek" and I'm not sure why one of the TV networks wouldn't have made something like this. There's a story, suspense, good acting, and plenty of gum trees. As an art house movie release, it's not going to get a big audience.

I really wanted to like this film because of the fascinating story line of an Afghani woman and a rural Australian farmer. These really are two worlds that should not collide, and so the premise based on a collision of these two characters should make for a compelling narrative. However, when I walked out of the cinema I left with the feeling the film was satisfactory but nonetheless failed to deliver.The chemistry between the two main actors was evident, and the powerful feature of the film was the beautiful silences between them. For aspiring screenwriters Peter Duncan and Mr. der Hulst prove that films light on dialogue make for fascinating stories, because we can evaluate the characters based on what they do, not on what they say. This is not an easy accomplishment in screen writing, as the tendency is to write cheesy dialogue that suffocates story. Moreover, most actors seem to choose scripts heavy on dialogue with the hope it contains that one memorable line. Unfinished Sky is truly a story told in pictures.The veracity of the story is believable, and no Australian should doubt the possibility that an almost an entire rural community could be complicit in the knowledge that certain "businesses" employ and exploit illegal immigrants, particularly females. Now, I think the most unbelievable aspect of the story was the community police officer and his relationship with the town and the main character John. He suddenly just seemed to show-up throughout the film, and I couldn't help feel the Director was throwing him into the scenes for the purpose of maximizing dramatic value. It didn't work, and Roy Billing is forced into overacting.Flashbacks – another screen writing vehicle that either works or doesn't. I think there were other ways they could have structured the narrative, perhaps in a more chronological order, as opposed to inserting flashbacks throughout. Sadly, Unfinished Sky is a film that incorporates flashbacks to the detriment of my viewing experience. It slowed the action down; there were other ways to reveal insights about these characters.My last critique was the blue sky as the chosen motif for the film. Personally, if the title of the film is Unfinished Sky then the film's key motif should NOT be the same! Surely! The Director frequently portrayed John working on an "unfinished puzzle" depicting a blue sky. Then John and T. working together on the puzzle. I felt at times choking on metaphors; not an ideal cinematic experience. More subtlety is required.Finally, one reviewer made this comment about the film "When we are steamed up about injustice, we cannot access the very fine-tuned emotions associated with love." I whole-heartedly disagree with that. This line says a lot more about the individual viewer than it does the quality of the film.