The community reels after an incident on a suburban train. A young cop, beset with doubt and afflicted with tinnitus, is pitched into the chaos that follows this tragic event. He struggles ...
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The community reels after an incident on a suburban train. A young cop, beset with doubt and afflicted with tinnitus, is pitched into the chaos that follows this tragic event. He struggles to clear the noises in his head while all around him deal with the after burn of the crime. Written by
The train carriage in which the massacre occurs is halfway down the train. One of the victims is a man in an electric wheelchair. Because there is a gap between train and platform on Melbourne's train system people in electric wheelchairs must board the train in the front carriage, where the driver can assist by placing a ramp between the train and platform. See more »
Constable Graham McGahan:
I got this theory about that. You know, what I read was, heaven or hell, is whatever you're thinking that second between your body dying and your brain dying. Your regrets, who you loved, who loved you. What you remember of your life, that's the eternity everyone's talking about. So, if you are a fuckwit, then... when you die, in that ten seconds between your brain and your body dying, your brain remembers all the time you were a fuckwit - over and over again... until it feels like this ...
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Now this is what I call a surprise, and one of the best Australian films to come out in the last couple years. Matthew Saville's magnificently striking, movingly sombre and realistically crafted crime drama "Noise" is quite a neat little package that really does over deliver. We follow that of a self-doubting, and tinnitus afflicted cop McGahan, as he finds himself manning a police van in a suburban community that has just been overwhelmed by a group of vicious murders. The script (within the character's make-up), plus the technical side of the production (sound effects) demonstrates some creative brushes with the whole tinnitus angle. Brendan Conwell's convincing lead performance is nothing more than sensational, in what is a vulnerable turn of coming to terms with the responsibility of his duties and the growing fear of his uncertain health. Maia Thomas' traumatised performance is just as hypnotically good. Saville's lean material is high on mood, blunt and darkly engaging on the gradual build-up of the inner-workings of his characters and environment. The location photography is masterfully shot, and the lighting composition also helps provoke an arresting and brooding atmosphere that shrouds the air. The direction of Saville is casually handled with a prominent rich style, and Bryony Marks' alienating music score never overstays its welcome. Meaningfully top-notch and powerful entertainment.
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