After discovering men have been shooting at the birds, Mike pledges to adopt three of them and his father grudgingly agrees. This is one of two friendships core to the film the other involves a pelican named Mr Percival. Mike heads towards a small fire burning on an island, where he meets Fingerbone (David Gulpilil). The way Safran constructs the scene reflects the beauty of the water, which looks like a softly shimmering blanket, small waves moving with the ebb and flow of the film’s editing. When we see Mike out in the wetlands by himself he is on a makeshift raft with a makeshift paddle, drifting among the reeds. Tom’s cynicism has a back story, of course, which he will eventually be forced to reassess for the sake of his child. “The radio will tell you that you need this and that and a thousand other things,” he says. But his father Tom (Peter Cummins) instructs him to throw away the strange contraption (a personal radio), while in the small ramshackle hut they share. The boy, Mike aka Storm Boy (Greg Rowe) takes home an artefact collected from the sand. The season looks more like autumn than summer, helping establish a sense of melancholy important to Storm Boy’s mood and energy. Geoff Burton’s cinematography (he also shot The Sum of Us and Hotel Sorrento) avoids the heavy, orange, sunburnt look so common in Australian films set among beaches or in the desert. Shot along the coast of Coorong in South Australia, near the mouth of the Murray River, beautiful opening images of the sky and the coastline zoom into a child walking along a beach.
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