


Lily, it turns out, exhibited a promiscuity that may have been based in compulsion.
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The disappearance of Lily and Tom triggers an ill-defined investigation, led by a local detective played by Hugo Weaving, and an equally murky series of revelations about the Parker family, specifically the unstable Catherine. Not long after their arrival, Lily and Tom, disgusted with their sudden posting in a “shithole” town, and with their parents, vanish from their home and into the night. That and other failures have brought the Parker family, Catherine (Nicole Kidman), Matthew (Joseph Fiennes), and their two very pretty children, 15-year-old Lily (Maddison Brown) and little brother Tom (Nicholas Hamilton) to the fictional Australian town of Nathgari. The image is also of a piece with the film’s guiding theme, which has something to do with the failure of imagination that would result in human beings inhabiting terrain better suited to the hard-backed insects that screech their claim on the desert throughout Strangerland. In Strangerland, the search party comprises about two dozen figures, and the sight of them trawling a vast expanse of Australian outback is a picture, not of hope and valiant effort, but of futility, incongruity, and despair. Some version of this image is a stock element of the missing persons thriller the younger and prettier the missing person, the more prolonged and vigilant the search.

The line inches across the screen as the men search the ground for clues, individually and as one. An image recurs in Strangerland, Kim Farrant’s woozy, enigmatic feature debut: an aerial sierra landscape of reds and browns, mountains and brush, bisected by a line of tiny men in unnaturally bright, orange jumpsuits.
