Wolfram: Warwick Thornton’s atmospheric but uneven follow-up to Sweet Country

Wolfram, directed by Warwick Thornton, serves as a follow-up to his acclaimed 2017 neo-western Sweet Country, set four years later in 1932. While it carries Thornton’s signature atmospheric style and strong performances, particularly from Thomas M Wright and Pedrea Jackson, the film struggles with pacing and narrative focus. Returning characters such as Mick Kennedy and his son Philomac navigate a harsh landscape alongside new figures, including Aboriginal siblings Max and Kid, and Pansy (Deborah Mailman), who is tragically underutilised despite her commanding presence. The story drifts between multiple plotlines without a clear protagonist, resulting in moments of emotional resonance that never fully land. Thornton’s skill as cinematographer is evident in the film’s rugged visual beauty, yet the narrative lacks cohesion, making Wolfram a minor entry in the oeuvre of a major Australian filmmaker. The film is set in the wolfram mines and explores themes of survival, family, and Indigenous experiences, but its diffuse structure limits its dramatic impact. Wolfram opened at the Adelaide Film Festival and will be in Australian cinemas from 30 April.