“Wolfram”, interview with director Warwick Thornton

After competing in the 74th Venice competition with “Sweet Country” and winning the Special Special Jury Prize, Australian director Warwich Thornton went back to those atmospheres and the western genre with “Wolfram”.

The film, presented in competition at the 76th Berlinale, is set in the same 1930s Australia, this time focusing on the female side of the story and history.

Revisiting a family story

Wolfram’ script, co-written by Thornton with David Tranter is based on the latter’s family heritage and story that he was keen to revisit. The “First Nations” director Warwick Thornton didn’t want to do a sequel and he only agreed to go back to those same settings as Sweet country because of the possibility of talking about women’s resilience.

Revealing the true history of Australia

“Sweet Country had focused on the male side of events” underlines Thornton It was filled of the real brutality Thornton’s ancestors had to face. Wolfram talks about what his and David Tranter’s Great grandmothers experienced. They both worked as child miners in the desert. “Wolfram is really an opportunity to reveal the true history of Australia. A story that hasn’t been told, a story we need to hear” declares the Australian director, screenwriter and cinematographer.

The Role of Authentic Storytelling in “Wolfram”

Norton’s approach to “Wolfram” reflects a broader effort to tell truthful, nuanced stories about indigenous peoples. He is conscious of the manipulative danger in filmmaking, aiming to avoid sensationalism or victimization. Instead, the film focuses on survivors and their resilience, revealing the complexity of their histories without resorting to melodrama. The film’s authenticity is reinforced through careful storytelling that respects truth and minimizes manipulative narratives. Ultimately, “Wolfram” aims to educate and entertain, ensuring viewers gain a genuine understanding of indigenous history and resilience.

 

Plot