Limbo

A gaunt, grizzled Simon Baker stalks an arid, haunted alien wasteland in Ivan Sen's immense yet decidedly inward Limbo, an eerie, sorrowful Australian police procedural drama that unfolds in stark black and white against the unearthly backdrop of an opal mining town. Twenty years ago a teenage indigenous girl was murdered here, the killer never found. Baker is the cop called in to reevaluate the cold case, a man who has a past so troubling he takes heroin just to cope with the day to day. The locals initially seem less than willing to help given the neglect and indifference of the police overall in this forgotten region, but eventually the brother (Rob Collins) and sister (Natasha Wanganeen in one of the year's best performances so far) warm up to him and express long buried desire to find some closure. Closure doesn't exist in such an open, vast, lonely corner of the world though and the bizarre stone structures and desert dwellings seem to hold secrets in steadfast silence. Baker stays at a motel that is literally carved into a mineral structure underground, his room akin to being on the moon in terms of tone and atmosphere. He resembles someone like Bryan Cranston here, I'm so used to him as the glib clairvoyant dude on The Mentalist, to see him in such a quietly despairing, resolutely rugged characterization is jarring, but in a good way. He has clearly sacrificed a piece of his humanity for the work, and his journey through this hushed desolation almost beckons him to regain some of it by finding a few long hidden answers. Almost. It's a quiet, hypnotic tale unlike many other cop/killer mysteries, where meaning and significance are found in the wavering pauses between words and all the collective pain and confusion that ripples out from a crime like that can be seen in Wanganeen's ghostly, impossibly wide eyes as she, a relative unknown to me, gives some career best work in a fantastic film.

Set against the backdrop of Australia's outback region, Limbo is an unsettling crime drama that sees Detective Simon Baker investigate a 20-year-old cold case involving an Aboriginal woman who went missing years ago. Written by Ivan Sen (who also directed) and featuring his unique score, Limbo presents viewers with raw emotion while driving home how injustice has scarred both land and people.

The film uses breathtaking black-and-white cinematography to create an ominous atmosphere that emphasises isolation and desolation - further underscoring each character's plight through extended shots coupled with minimal dialogue that helps viewers feel every ounce of pain each character experiences. The location is a key element in Limbo, from the rusted-out cars to the deserted streets and lunar-like landscapes.

Themes such as guilt are explored poignantly in Limbo. At the same time, it delves deep into redemption whilst examining limbo as both physical space or spiritual states - touching on heavier subjects sensitively throughout its runtime.

Simon Baker transforms into this jaded detective plagued by heroin addiction - delivering the best performance I have seen from him. The remaining cast, including Rob Collins and Natasha Wanganeen, also deliver great performances as they each process their painful coping mechanisms. Nicholas Hope delivers a standout performance as an enigmatic prospector in Limbo. His portrayal brings an element of mystery tinged with menace. Another significant positive of the film is Sen's atmospheric score which blends electronic sounds with traditional acoustic instruments to create a compelling mood filled with melancholy notes underscored by tension. This all combines into making Limbo what could be considered an acquired taste film - one that not everyone will find gripping due to its unhurried pacing coupled with, at times, disheartening themes. Limbo does not offer superficial resolutions but instead prompts us into introspection on Australian culture, both past and present.

Despite its dark themes and melancholy pace, I recommend viewing it by those who love artistic expression and deeper social considerations. I liked it.

Ivan Sen's Limbo is a stark and poetic exploration of grief, justice, and memory, set against the haunting Australian outback. Shot in black and white, the film's minimalist style and sparse dialogue invite deep reflection, capturing the silence surrounding long-forgotten crimes.

As writer, director, cinematographer, and composer, Sen crafts an immersive and cohesive experience. Limbo isn't a typical mystery-it's a meditation on loss and the unresolved pain of marginalized communities.

A quietly powerful film that lingers long after it ends. Essential viewing for those who appreciate meaningful, thought-provoking cinema.

If you're looking for a violent, action-packed, Hollywood-type film you won't find it here & you'll probably write a snarky IMDB review. If, however, you prefer strong characterization, atmospheric settings, a gripping plot & perfect casting, this is your cup of Aussie tea. I was halfway through the film before I realized it was B/W - I only knew that the general feel of the extraordinary setting grabbed me from the first couple of minutes. Simon Baker is in top form & the rest of the casting was perfect for each role. The story line is strong and the film doesn't deviate from the central plot, but we are given a broad picture of all other characters and their relationship to the main conflict - it all works seamlessly yet intricately. This is one of the best films I've seen in a long time & happily recommend it.

I have watched and do follow Australian TV and cinema and the likes of "Black Snow" and "Limbo" only seem to have scratched the tip of the iceberg in terms of racism... "Limbo" feels even more personal though. You can see it in the austere setting and cinematography, sparse dialogue, superb delicate and minimalist method acting, symbolism throughout... seems black and white, but there truly are far more shades of grey to start snowballing a real conversion which, in all fairness, never, in a million years, have I thought Aussies needed to tackle... At the end of the day, this IS a "whodunnit", but at a much larger scale... TOTALLY RECOMMENDED!