Synopsis
Based on true events, "Nitram" lives with his parents in suburban Australia in the mid-90s. He lives a life of isolation and frustration at never fitting in. As his anger grows, he begins a slow descent into a nightmare that culminates in the most heinous of acts.
Director
Cast
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Caleb Landry Jones
Martin Bryant/Nitram
Essie Davis
Helen
Judy Davis
Mother
Sean Keenan
Jamie
Lucy-Rose Leonard
Girl In The Bar
Other Reviews
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This year's Cannes big surprise as the film provided the performance that took the award for best actor, 'Nitram' is somewhat competent if tedious and borderline, redundant filmmaking. Aside from the central performance, there's nothing here I would point out as refreshing and original. 'Nitram' is the type of cinema that uses the medium to document an event, raise awareness ("In fact, there are more firearms in Australia now than there were in 1996"), and that's it. It feels like that's the sole purpose of the movie. Not even for a moment watching the film did I notice a temptation on the filmmaker's part for challenging the art form. It's like he took a safe, already proven template and followed it by heart. And these types of films are the ones that bug me the most. What I mean is that I've watched worse movies than 'Nitram' this year. 'Last Night In Soho' was lame. But if I had to choose to avoid watching, or now, erase from my memory one between the two, I'd choose 'Nitram.' Because, as weak as 'Last Night In Saho' was, at least Wright put his own flare to it.
So, Caleb Landry Jones won for best actor in Cannes for his performance here, resolidifying my faith in the festival after Spike Lee chopped it to pieces by giving the Palme d'Or to 'Titane.' But I'm not getting into that. Terrific performance by Caleb backed quite well from the supporting cast, especially the actress playing his character's mother. But again, the film doesn't have much to offer beyond that. 'Nitram' stubbornly weights on repetition, monotony; too busy mourning the massacre to showcase it properly in riveting film language.
John94
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shaban
This year's Cannes big surprise as the film provided the performance that took the award for best actor, 'Nitram' is somewhat competent if tedious and borderline, redundant filmmaking. Aside from the central performance, there's nothing here I would point out as refreshing and original. 'Nitram' is the type of cinema that uses the medium to document an event, raise awareness ("In fact, there are more firearms in Australia now than there were in 1996"), and that's it. It feels like that's the sole purpose of the movie. Not even for a moment watching the film did I notice a temptation on the filmmaker's part for challenging the art form. It's like he took a safe, already proven template and followed it by heart. And these types of films are the ones that bug me the most. What I mean is that I've watched worse movies than 'Nitram' this year. 'Last Night In Soho' was lame. But if I had to choose to avoid watching, or now, erase from my memory one between the two, I'd choose 'Nitram.' Because, as weak as 'Last Night In Saho' was, at least Wright put his own flare to it.
So, Caleb Landry Jones won for best actor in Cannes for his performance here, resolidifying my faith in the festival after Spike Lee chopped it to pieces by giving the Palme d'Or to 'Titane.' But I'm not getting into that. Terrific performance by Caleb backed quite well from the supporting cast, especially the actress playing his character's mother. But again, the film doesn't have much to offer beyond that. 'Nitram' stubbornly weights on repetition, monotony; too busy mourning the massacre to showcase it properly in riveting film language.
John94
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shaban
2 y