Despite constant urging by those around him, Charlie (David Gulpilil) has never wanted to leave the small community in which he lives in exchange for a more conventional life amongst what is considered conventional Australian society. His home has always been the bush, and he’s only known the Aboriginal way of life, which is something he is exceptionally proud of, but often the bane of the existence of a group of ill-mannered police officers and bureaucrats, who only seem to be concerned with treating Charlie like a human when he is lending them his skills as a tracker. A rebel by nature, Charlie is not someone who is going to adhere to any rules, and as a result, he is frequently at odds with not only a wide array of individuals, but society as a whole. It doesn’t bother him too much, as his way of life is one that he is proud of, and he aligns himself with the lessons he learned as a younger man, hoping to live out his days in peace and quiet, without the dissenting voices of the more myopic people around him, who are far too concerned with their own self-serving interests than they are willing to see how laboriously Charlie is working to preserve his culture and keep even the most sacred traditions from being appropriated by people who quite simply just do not understand the value of maintaining these customs, which are far more than just remnants from the past, but rather the sole motivating factor for many people to continue living their lives on their own terms. Over time, Charlie finds himself too frequently on the other side of the law – whether using a weapon without a permit, or buying alcohol illegally, he fights against the draconian laws of a country that seems to be entirely intent on silencing voices such as his by any means necessary, since they not only rile up the masses, but also prove the institutionalized hypocrisy embedded deep within the system.

Charlie’s Country is a wonderful curiosity of a film. A recent effort by Dutch director Rolf de Heer, who has spent much of his personal and professional life in Australia, telling stories often relating to individuals on the outskirts of society, whether in the case of a literal outsider (as was the case in his masterful Bad Boy Bubby), or the many glimpses into the trials and tribulations of the Aboriginal population, both from the current perspective, as well as through exploring their past experiences fighting against a system that sought to modernize the nation through a process of essentially erasing their identity and encouraging them to adapt to a new, contemporary way of life. de Heer is a profoundly gifted filmmaker, and as a cinematic craftsman, he has been able to tell such evocative, beautiful stories through often the most simple, paltry premises that often resound with a lot more sincerity when we realize how deeply he cares about these stories, using the platform to give a voice to those who so desperately require it. One of his most significant collaborators over a number of films is legendary Aboriginal actor David Gulpilil, who has been something of a guiding force for the director over the course of the past few decades, helping him tell stories with heart and authenticity, and providing insights that someone from outside the community may not have been privy to. This collaboration in particular is notable since this was the first time in their creative career together than de Heer and Gulpilil worked as co-writers across from each other, and it only makes sense that the latter would be involved to the extent of helping to form the script – so much of what makes Charlie’s Country such a remarkable film comes from the invaluable information he gleans from someone who had first-hand experience of the events reflected on screen. It gives the film nuance and a certain authenticity that is difficult to come by, and proves why this is one of the more notable excursions into the cultural lives of a group of individuals that don’t often have their stories told on such a prominent platform.

Part of the appeal of Charlie’s Country isn’t only the insights that Gulpilil provides us into his own life, but also the performance the actor gives, proving himself to be a raw talent that has yet to be utilized to his full potential. His career may stretch over nearly half a century, but Gulpilil is still an incredibly visceral performer, someone who avoids conventional methods of acting, and instead goes for something more natural and honest. At the time of its release, many proclaimed this a revelatory performance from a new, obscure actor, which is certainly not all that accurate, since Gulpilil has been involved in the industry for decades – but it was perhaps a moment that allowed audiences to generally wake up to the tremendous talents demonstrated by the actor. This is entirely a showcase for his incredible gifts, with his direct and honest approach to acting being the fundamental area in which Charlie’s Country succeeds. His face is weathered with age and experience, and carries the appearance of having lived a tumultuous life, one filled with equal moments of triumph and hardship, both of which are integral to the performance he’s giving here. He commands the screen without demanding our attention, instead going for a more subdued, unfurnished style that captivates us solely by virtue of its incredible simplicity and ability to evoke an endless range of emotions through the most simple, sincere and understated mannerisms and delivery that could possibly be expected from someone who may have been a well-regarded character actors for a while, but deservedly received the breakthrough he has been waiting for since he first appeared as a much younger man in the iconic Walkabout nearly fifty years ago.

The film does touch on some incredibly important issues through the guise of being a character study of the titular character. From the first moment we are introduced to Charlie and the many people who make up his community (and are treated as second-class citizens by the non-native authorities), we know that this isn’t just going to be a simple story of one man trying to survive a world he no longer recognizes, but rather a deeply moving glimpse into the social and cultural complexities that afflict the nation, and aren’t often the subject of such significant films. de Heer’s compassion for the people at the centre of the film is clear – Charlie’s Country is remarkably free of any of the more common pratfalls that come when an outsider ventures into telling a story that falls outside their socio-cultural sphere, never preaching to the choir, nor being flippant or exploitative. We’ve seen, on a global scale, attempts to bring these stories to the screen where a director may have the best intentions, but still fail through some clumsy mistakes that either make the final product an overwrought muddle of ideas, or an unconvincing attempt to capitalize on our natural curiosity for seeing the stories of underrepresented populations reflected on screen. Neither are present here, and are instead replaced with a heartfelt and meaningful story of a man navigating the world and trying to come to terms with the fact that, regardless of how militant he is in staying true to the spirit of his own existence, there is always going to be something to keep him from living life on his own terms.

Charlie’s Country is certainly not the definitive text on modern issues relating to the lives of the Aboriginal population, but rather a meaningful addition to a small but dedicated canon of stories that weave together narratives that not only entertain the viewer, but also give us something profound to think about, beyond the confines of the basic story, which is interesting but certainly not enough to hold our attention for as long as it should. It’s a beautifully poetic work that doesn’t take too much time to establish itself as an integral, fascinating cultural odyssey that is as insightful as it is tender. There is an elegance that persists throughout this film that is simply exquisite, a kind of mutual respect between the subject matter and the director, who works so exceptionally well with the enigmatic lead, it’s often easy to forget that we’re watching a work of fiction, since the performances at the centre of the film are so lived-in and authentic. It’s a striking piece of filmmaking that is filled with rich colours, interesting characters and beautifully compelling dialogue, all of which goes towards presenting us with a compelling glimpse into the life of a man who may not be extraordinary on his own terms, but through the sensitivity taken to construct him and the circumstances he finds himself in, Charlie’s Country becomes a truly mesmerizing and unforgettable film that captures our hearts, and leaves us struck with nothing but the most sincere and authentic emotions imaginable.