An Australian road movie that wisely operates beyond such genre simplicities, Henry Boffin‘s Strange Creatures finds organic humour in the tragic circumstances of its two main characters – estranged brothers Nate and Ged Taylor (Riley Nottingham and Johnny Carr, respectively) – as they respect the dying wish of their recently deceased mother.
The opposing personalities of the brothers is established early on in the piece, with Nate the stable, clean-cut sibling, versus Ged’s more volatile temperament. Their mother, whose dementia has started to take considerable hold, hasn’t let Ged’s unreliability stain the memories she can recall, and though this rightfully irks Nate, who’s been the one to care for her, he does his best to suppress in her presence.
When she passes away overnight – and leaves quite the surprising request regarding her ashes in a written statement (let’s just say there’s a reason she doesn’t want to be buried next to her husband) – the brothers take it upon themselves, however reluctantly, to honour her request of scattering her ashes at their old country estate.
Carting a deceased parent’s ashes around sounds as if it’s prime fodder for a farcical mentality to take hold, and when the boys’ form of transport is an old hearse – which comes courtesy of Nate’s boyfriend (Declan Clifford), the local funeral home director – you’d be forgiven for almost expecting Boffin’s script to lean into certain exaggerated beats. Instead, the film uses such an opportunity to serve as a conversation piece between the brothers and their unspoken issues, their childhood and the-less-than-savoury remembrance of their father.
It’s an interesting pocket as to where Strange Creatures sits. It’s an effective character drama in the guise of a comedy, and though it does land a few worthy chuckles throughout its brisk 87 minute running time, audiences expecting something quirky should best be on guard that much of the film aims for a more serious tone. And it’s because it refuses to abide by the expected clichés that Boffin’s film ultimately proves a better product; there’s no wacky locals to contend with, Nate’s sexuality is a total non-issue, and Ged’s ultimate reveal as the truer, more sensitive soul is wrapped in a narrative strand that helps breakdown Nate’s seeming stability.
As “strange” as Nate and Ged might be to each other, the fact that such a moniker really just refers to their complexities and, ironically, the normality that everyone is suffering through their own issues helps Strange Creatures, as a film, earn a relatability. Assisted by strong performances from its leads (Carr is especially good), Boffin’s human drama could have used more levity throughout, but its dedication to its measurable personality means its no less engaging.
THREE AND A HALF STARS (OUT OF FIVE)
Strange Creatures is screening in Australian theatres from November 21st, 2024.
