This is so much more than a mystery. It is a beautifully crafted story about friendship and Hugo Weaving deserves every award going around for an absolutely authentic performance (Phoenix Raie is brilliant too). The background of the story is a man dealing with depression but it is not a sad film - without giving anything away it turns all your expectations on their head. The script is perfect and sparing - at its heart it is a film about male communication, how hard it is and how kindness and trust are so important. I have never seen anything like it and have not stopped thinking about it since I saw it two nights ago.
8 Reviews
My favorite film from MIFF 2023
Esme-6700429 September 2023
"The Rooster," starring Hugo Weaving and directed by Mark Winter, is a cinematic gem that I was lucky enough to see it at MIFF. Hugo Weaving's performance is exceptional. He effortlessly embodies the complex character, bringing depth and authenticity to every scene. Mark Winter's direction is a revelation. He masterfully navigates the narrative, creating an atmosphere of suspense and intrigue that keeps you on the edge of your seat. The pacing is spot-on, and Winter's ability to capture the essence of each moment is truly remarkable. His visual style adds an extra layer of depth to the film, making it a visual treat.
The Rooster's screenplay is equally impressive. It weaves a compelling story filled with unexpected twists and turns, making it impossible to predict the outcome. The dialogues are sharp and thought-provoking, adding layers of complexity to the characters and their motivations. The cinematography was also a real standout for me!
The Rooster's screenplay is equally impressive. It weaves a compelling story filled with unexpected twists and turns, making it impossible to predict the outcome. The dialogues are sharp and thought-provoking, adding layers of complexity to the characters and their motivations. The cinematography was also a real standout for me!
Brilliant thought provoking film.
gaz_art22 October 2023
I thoroughly enjoyed this film written and directed by Mark Leonard Winter. An amazing performance by Phoenix Raei and Hugo Weaving. The film touches on mental health issues as well as the loneliness that many people face. To me It inspired many emotions which change throughout the film. The policeman played by Phoenix. Raei was outstanding and highlighted the stresses and mental issues that some police officer may be subject too. Hugo Weaving's performance was brilliant. I loved the film setting and the cinematography. The sound editing was amazing with a special mention to the excellent work by the foley artist whose work was outstanding.
Powerful and uncompromising
steveinadelaide4 March 2024
The Rooster isn't your typical whodunit. Sure, there's a dead body, a small-town cop named Dan (Phoenix Raei) grappling with grief, and a mysterious hermit, played by the ever-magnetic Hugo Weaving, who might hold the key. But writer-director Mark Leonard Winter transcends genre, crafting a poignant exploration of masculinity, loss, and the healing power of unlikely connections.
The Australian bush becomes a character itself. Lush greenery, seemingly chaotic growth, and isolation mirror the turmoil within Dan. The location heightens the emotional impact, reminding us of both the beauty and harshness of life.
The film rests heavily on the shoulders of its two central performances. Raei delivers a nuanced portrayal of a man unravelling. His vulnerability is palpable, his every twitch and furrowed brow conveying a depth of unspoken pain. Weaving, on the other hand, is electric. He disappears into the role of the gruff, unpredictable recluse, making you laugh one minute and squirm with unease the next. Their dynamic is a slow burn, a wary dance that eventually blossoms into grudging respect, then, something more profound.
Winter's script is a masterclass in minimalism. Dialogue is sparse, yet it crackles with tension and unspoken emotions. Think of early Clint Eastwood westerns, where a furrowed brow speaks volumes. The silences are pregnant with meaning, forcing us to confront the characters' inner demons alongside them.
A score that is sinister, rhythmic, and occasionally cacophonous is the perfect accompaniment to the multi-layered emotional journey that is being depicted on screen. Both the present and the past are expertly blended together, thanks to the flawless editing. The powerful emotional beats are able to ring true thanks to the slow and measured tempo.
The Rooster isn't without its minor shortcomings. There are a few plot points that feel slightly underdeveloped, leaving me wanting a touch more resolution. However, these errors are forgivable in the scheme of things as a whole.
The Rooster is the kind of movie that stays with you long after the final scene ends. It's a meditation on grief, the complexities of male bonding, and the possibility of redemption in the most unexpected places. This isn't a film for those seeking a popcorn-munching thrill ride. But for those who appreciate slow-burning character studies with knockout performances and stunning visuals, The Rooster is a must-see. It's a powerful, uncompromising piece of Australian filmmaking that deserves a place among the year's best. So, buckle up for a ride that's as raw as the isolated Australian bush itself, and prepare to have your heart unravelled and stitched back together, stronger than before.
The Australian bush becomes a character itself. Lush greenery, seemingly chaotic growth, and isolation mirror the turmoil within Dan. The location heightens the emotional impact, reminding us of both the beauty and harshness of life.
The film rests heavily on the shoulders of its two central performances. Raei delivers a nuanced portrayal of a man unravelling. His vulnerability is palpable, his every twitch and furrowed brow conveying a depth of unspoken pain. Weaving, on the other hand, is electric. He disappears into the role of the gruff, unpredictable recluse, making you laugh one minute and squirm with unease the next. Their dynamic is a slow burn, a wary dance that eventually blossoms into grudging respect, then, something more profound.
Winter's script is a masterclass in minimalism. Dialogue is sparse, yet it crackles with tension and unspoken emotions. Think of early Clint Eastwood westerns, where a furrowed brow speaks volumes. The silences are pregnant with meaning, forcing us to confront the characters' inner demons alongside them.
A score that is sinister, rhythmic, and occasionally cacophonous is the perfect accompaniment to the multi-layered emotional journey that is being depicted on screen. Both the present and the past are expertly blended together, thanks to the flawless editing. The powerful emotional beats are able to ring true thanks to the slow and measured tempo.
The Rooster isn't without its minor shortcomings. There are a few plot points that feel slightly underdeveloped, leaving me wanting a touch more resolution. However, these errors are forgivable in the scheme of things as a whole.
The Rooster is the kind of movie that stays with you long after the final scene ends. It's a meditation on grief, the complexities of male bonding, and the possibility of redemption in the most unexpected places. This isn't a film for those seeking a popcorn-munching thrill ride. But for those who appreciate slow-burning character studies with knockout performances and stunning visuals, The Rooster is a must-see. It's a powerful, uncompromising piece of Australian filmmaking that deserves a place among the year's best. So, buckle up for a ride that's as raw as the isolated Australian bush itself, and prepare to have your heart unravelled and stitched back together, stronger than before.
WORST FILM OF THE YEAR - CONGRATS SCREEN AUS & MIFF
movieguy300013 October 2023
Warning: Spoilers
Wow apart from a stellar performance by Hugo Weaving who goes slightly off kilter with his performance and great location, production design and grading there's NOTHING here to watch.
It's about a local bush cop who finds his old friend dead and apparently goes looking for what happened to him. The story goes off on an arty-farty tagent along with forced stylistic choices that takes focus away from the story. But there is NO story here, just a bunch of scenes of Hugo and Phoenix (who just phones it in as an actor) they play, they drink, they talk, they dance, they talk, they cry, they play ping-pong, they walk, they eat - you get my drift thats NOT storytelling thats just out mundane lives. All while this is happening is a slightly over-the-top eccentric performance from Hugo playing a mentally ill mad-man.
By the time they get back to the nonexistent idea of the story - it's too late you have lost the audience from the snail pace and boredom, and we no longer care.
The story or characters never really develop, and you can see the writing was bad and the direction was poorly exectuted, This is not cinema and this is a PERFECT EXAMPLE OF EHY AUSSIE FILMS SUCK!!!
I am sick of this NON engaging, uninteresting style of non storytelling with only 1 unique to no unique or interesting chracters.
There are obvious elements of SWISS ARMY MAN here which is a far superior film, they borrow many of the silly eccentric playful scenes as well as similar musical elements.
Do not waste your time. Indie film or not this is not how to make a film. Sorry to all those who contributed all their hard work but just because the film looks shiny and has a world-renowned actor - doesn't mean it's a good film, by far this is a 1-star poor effort of a film.
A polished turd is still a turd.
It's about a local bush cop who finds his old friend dead and apparently goes looking for what happened to him. The story goes off on an arty-farty tagent along with forced stylistic choices that takes focus away from the story. But there is NO story here, just a bunch of scenes of Hugo and Phoenix (who just phones it in as an actor) they play, they drink, they talk, they dance, they talk, they cry, they play ping-pong, they walk, they eat - you get my drift thats NOT storytelling thats just out mundane lives. All while this is happening is a slightly over-the-top eccentric performance from Hugo playing a mentally ill mad-man.
By the time they get back to the nonexistent idea of the story - it's too late you have lost the audience from the snail pace and boredom, and we no longer care.
The story or characters never really develop, and you can see the writing was bad and the direction was poorly exectuted, This is not cinema and this is a PERFECT EXAMPLE OF EHY AUSSIE FILMS SUCK!!!
I am sick of this NON engaging, uninteresting style of non storytelling with only 1 unique to no unique or interesting chracters.
There are obvious elements of SWISS ARMY MAN here which is a far superior film, they borrow many of the silly eccentric playful scenes as well as similar musical elements.
Do not waste your time. Indie film or not this is not how to make a film. Sorry to all those who contributed all their hard work but just because the film looks shiny and has a world-renowned actor - doesn't mean it's a good film, by far this is a 1-star poor effort of a film.
A polished turd is still a turd.
Brave and Masterful
mosquitobite23 February 2024
Warning: Spoilers
Wandered into this on spec knowing nothing at the Regent in Ballarat. I found heartfelt performances, layered unfolding of narrative, deepest despair, grief loss, existential pain of the human condition, the horrendous price and profound intergenerational impact of institutionalised abuse upon poor little innocents like Mit by the most vile amongst us.
Thinly veiled, Mit attended "a school close to Ballarat".
Mit was there, he suffered the horror, as did so many. Absolutely heartbreaking, gut wrenching stuff. Hugo Weaving brings this to the screen in shattering pathos almost too much to bear. The writing it terrific, never laboured, knowing less is more.
There is also a lot of humour, there is hope, new beginnings, friendship, shared experience, of these two unlikely allies against the vagaries of life, timely narrative too with current spate of police suicides, it is ultimately a hopeful film and would be helpful to any police officers out there struggling feeling alone and despairing.
The shedding and processing of grief and loss between shattered police officer Dan and Mit crushed to a sane sort of madness by life, the recognition that sometimes we have no control over fate, that we must somehow overcome all that entails, the rage impotence and crushing sorrow.
Well it's all in here, a wonderful contribution which will touch anyone who has been through the vale of tears or who have the capacity to comprehend it. Thanks to all concerned, the director writers and lead actors going above and beyond. Hugo Weaving of course we know (not quite like this before! ) and love already (my god what a performance he gives) but main character Dan by Phoenix Raei is pitch perfect, showing full range of Dan's emotions and experience.
If you were "bored" go see it again again, alone and quietly, let it seep, reflect, think on it.
Highly recommended.
Thinly veiled, Mit attended "a school close to Ballarat".
Mit was there, he suffered the horror, as did so many. Absolutely heartbreaking, gut wrenching stuff. Hugo Weaving brings this to the screen in shattering pathos almost too much to bear. The writing it terrific, never laboured, knowing less is more.
There is also a lot of humour, there is hope, new beginnings, friendship, shared experience, of these two unlikely allies against the vagaries of life, timely narrative too with current spate of police suicides, it is ultimately a hopeful film and would be helpful to any police officers out there struggling feeling alone and despairing.
The shedding and processing of grief and loss between shattered police officer Dan and Mit crushed to a sane sort of madness by life, the recognition that sometimes we have no control over fate, that we must somehow overcome all that entails, the rage impotence and crushing sorrow.
Well it's all in here, a wonderful contribution which will touch anyone who has been through the vale of tears or who have the capacity to comprehend it. Thanks to all concerned, the director writers and lead actors going above and beyond. Hugo Weaving of course we know (not quite like this before! ) and love already (my god what a performance he gives) but main character Dan by Phoenix Raei is pitch perfect, showing full range of Dan's emotions and experience.
If you were "bored" go see it again again, alone and quietly, let it seep, reflect, think on it.
Highly recommended.
BORING EXPLORATION OF BROKEN MEN
NORA_WISEMAN200017 October 2023
I'm not a feminist and I believe men deserve to have their stories told but I found this to be a tedious journey trying to explore the minds of broken men. The exploration itself is at the pace of a snail, I found myself and my girlfriend looking at our phone because many of the scenes just were too quiet that nothing was really going on. I love quiet and poetic cinema and always applaud the use of restraint in storytelling, especially not to over-indulge with so many film-making trickery and camera angles.
This film did not tell a story well, instead it indulged itself with men behaving like boys and a chance for an esteem actor such as Hugo to have fun and act like a fractured, naughty little boy.
The other actor seemed to play it very calm, but I felt his presence was not quite there.
I didn't know what this film was about, maybe I wasn't paying attention, maybe it wasn't clear enough or maybe I'm just not intelligent enough.
It seems to be a theme in Australia where directors like to mimic other styles of Aussie storytelling, it's the tedious and horse-flogging style of really dragging it out.
As they say boys will be boys.
This film did not tell a story well, instead it indulged itself with men behaving like boys and a chance for an esteem actor such as Hugo to have fun and act like a fractured, naughty little boy.
The other actor seemed to play it very calm, but I felt his presence was not quite there.
I didn't know what this film was about, maybe I wasn't paying attention, maybe it wasn't clear enough or maybe I'm just not intelligent enough.
It seems to be a theme in Australia where directors like to mimic other styles of Aussie storytelling, it's the tedious and horse-flogging style of really dragging it out.
As they say boys will be boys.
If a tree falls in the forest ...
Phil_M_A_Kerr29 March 2024
A tough one to review because you know it's not going to be a box office hit.
Watching it, though, I was thinking how long it had been since I'd seen a real character piece. You know, I mean something that wasn't just quirky or dark or subverting expectations. This was a character piece of old. This was staring into the abyss (this is a Wall Street reference). It's a tale for those who've walked with the black dog, been at society's fringe, and/or at some time been a pariah of the community - not a pillar.
I hate to say that it's probably a men's film because I'd surely not want to discourage the inquisitive minds of the fairer sex from having a look. Nor would I want to restrict the universal themes of the movie to a select audience.
Watching it, though, I was thinking how long it had been since I'd seen a real character piece. You know, I mean something that wasn't just quirky or dark or subverting expectations. This was a character piece of old. This was staring into the abyss (this is a Wall Street reference). It's a tale for those who've walked with the black dog, been at society's fringe, and/or at some time been a pariah of the community - not a pillar.
I hate to say that it's probably a men's film because I'd surely not want to discourage the inquisitive minds of the fairer sex from having a look. Nor would I want to restrict the universal themes of the movie to a select audience.
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