I wanted to expand that within a cinematic context, so this was our chance.” Variety magazine says Baker is ‘initially unrecognisable and never better … no empty space feels emotionally uncharged’. “He can talk so well without actually having to open his mouth. “He has got an amazing presence,” Sen said. He says he has always wanted to work with Baker, and reckons they were destined to work with each other. “I responded with an exclamation mark on it with this film and show the interaction between the Indigenous side and the white side through this policeman Travis Hurley.” We’ve had violent crimes happen within our family and the police response has been lacklustre and apathetic. All these conversations are around the justice system,” Sen said.
You ask someone where someone is, he’s inside, when’s he getting out. “It’s something that is always there … you talk to your family and it’s always there. Sen ( Mystery Road, Goldstone) says his story “is a manifestation of so many different cases that have happened around Australia over the last 200 years”.
“Tough for a white guy telling that story because you’ll have a lot of people who say that’s not your story to tell.” “Coming back after 20 years, I was intrigued by the Indigenous stories of colonised Australia … they’re tough, difficult stories, but important stories to know,” Baker said. In an interview with The New Daily, Baker and Sen talked about the making of Limbo before its national premiere this week. Underneath, the film, which has been variously described by film critics as an outback film noir, “starkly atmospheric” and “a pared-to-the-bleached-bones existential thriller”, is so much more. On the surface, he has been asked to investigate the 20-year-old cold-case murder of local Indigenous girl Charlotte Hayes. An encounter with the mysterious guest at the Hotel Bellavista, Mattia Rubino, a man apparently without a past and, like her, suspended in his own personal limbo of waiting and hoping, provides the opportunity to grapple with her own story, and to understand that life is always worth living – because no one, not even she herself, is what they appear to be.With a drug addiction and his own family problems, the nondescript cop (with an overnight bag, a box of case notes and some drug paraphernalia) checks into local underground Motel Limbo (in the fictitious town of Limbo), for his latest assignment. But the bloody attack that left her seriously wounded forces her to fight a war that is quite different, and no less insidious: against memories, disillusionment, and pain, but also against the stereotyped role of woman and victim that society attempts to impose upon her. With anger, determination, and sacrifice, Manuela has managed somehow to build the life she dreamed of, becoming a noncommissioned army officer and platoon commander at a forward operating base in the Afghan desert, responsible for the life and death of thirty men. She’s been away for some time: she left when still a youth to serve in the military, fleeing from an adolescence adrift, from the frustrations of a mother seeking redemption through her, and from the lacerations of a torn family.
Manuela Paris returns home, to a seaside town near Rome; she is not yet 28 years of age.
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