Tensions flair between a couple living in the outback when their son and daughter disappear during the night in this Australian mystery thriller. The film is drooped in atmosphere with eerie aerial shots that emphasise the isolated nature of the outskirts town, some very moody skies and an absolutely haunting music score. There is a constant sense of something sinister afoot, and as the two parents learn increasingly shocking things about their children in their quest to find them, their disappearance serves as a catalyst: a wake-up call for just how out of control their kids are and how they have failed as parents. Everything progresses at a deliberately slow pace and it is understandable why some might not take kindly to the film since it plays out as more of a Michelangelo Antonioni mystery movie than a standard Hollywood thriller. There is, however, a lot going on beneath the surface and the chief drawback of the film, if anything, is how elusive this all remains by the end. There is the slightest hint of childhood sexual abuse, the vaguest suggestion of the kids being afraid of their own parents - but frustratingly, nothing is ever clear. The ambiguity with regards to their daughter's disappearance is, on the other hand, an excellent touch, highlighting that the film is primarily about the parents and their gradual, mutual realisation that they are not entirely satisfied with their lives and each other. Indeed, while the small town setting initially seems to represent freedom and escapism from past mistakes, in the end, the setting only forces them to confront their inner demons face-on.

A film that for its entirety is crying out for a satisfying ending to make all that has come to pass worthwhile, Strangerland fails at its final hurdle and becomes a tale with huge potential that remains left in the dusty plains of the outback wherein the stories mysteries lie.

Strangerland is most certainly a unique disappearance mystery, a strange hybrid of domestic drama moulded into the intrigue of just what happened to the two Parker children, last seen wandering off into the great unknowns of outback Australia, but despite consistently threatening to become a great addition to the recently mostly barren Australian cinema classic handbook, Kim Farrant's film just can't gel into something totally recommendable or overly memorable.

First time director Farrant does show glimpses of a filmmaking talent, her images of the land and direction of some of her actors is of a high order and Strangerland's tone is often nerve rackingly eerie and there's an air of dread that permeates through most of film. From Maddison Brown's performance as promiscuous teen Lili, the town of Nathgari itself and the looming shadow of the barren landscape that surrounds our characters mixed with Keefus Ciancia's atmospheric score, all combine to give Strangerland a unique identity worthy of lead Nicole Kidman's committed turn.

In the doldrums for some time now it's great to see Kidman showcase her considerable talents once more with a layered turn as the conflicted mother of the lost children Catherine Parker. Kidman's performance is both brave and unflattering and she's a highlight of Strangerland's ensemble. Ably supported by the evergreen Hugo Weaving as the local detective, Kidman elevates the film despite the overplayed presence of a distracting Joseph Fiennes who once again reminds us as to why his been largely forgotten about since his appearance in Shakespeare in Love. Young Australian performer Meyne Wyatt is also worthy of a mention in his role as young Aboriginal local Burtie.

Strangerland has moments; it also sucks you into its mysterious centre only to drop the bundle in the films last act. If Strangerland had in fact had a better catch on its hook it could've quite easily become one of, if not the Australian film of the year but as it stands it's going to be remembered only for a timely reminder that Nicole Kidman can in fact act and lead a film. A disappointing result for a film that just might have been.

2 ½ high quality skate parks out of 5

The dysfunctional Parker family moves to the middle of nowhere in the hot Australian Outback. The pharmacist Matthew Parker (Joseph Fiennes) does not sleep in the same bed as his wife, the housewife Catherine (Nicole Kidman),who is a woman needy of sex. Their fifteen-year-old daughter Lily (Maddison Brown) is a promiscuous girl and their son Tommy (Nicholas Hamilton) is a sleepwalker that walks through the town during the night. One night, Tommy sleepwalks and Lily follows him and soon Catherine finds that they are missing and have not gone to the school. A sand storms arrives in the town and Catherine and Matthew look for their children. Sheriff David Rae (Hugo Weaving) investigates the disappearance and a search party is organized to seek out Liliy and Tom. Meanwhile Catherine finds Lily's diary and discloses past secrets of the Parker family to Rae to help the investigation.

"Strangeland" is a depressing Ireland / Australian film that holds the attention of the viewer mainly in the first half. However, the plot is too long and deserved a better edition in the second part that has many unnecessary scenes. Nicole Kidman has a stunning performance but Joseph Fiennes with his wooden face does not help much. Hugo Weaving has also great performance. The open end fits perfectly to the story but the dynamics of the Parker family is too weird and hard to be understood since information is missing. Lily is a slut, but why Catherine has that strange sexual behavior with her husband? Was she also promiscuous in the past? There are indications, when Matthew says that Lily inherited that behavior from her and her scenes with Burtie and Rae. My vote is six.

Title (Brazil): "Terra Estranha" ("Strangerland")