Abstract
Sweet Country may be a film constructed with the conventions of a Western – the guns, horses, spirits, and vast frontier landscapes with law and justice as central themes – but it is also a film grounded in oral history and the written archive. This article considers Sweet Country as a historical account of colonialism, scripted, directed and produced by an Indigenous team. It explores how the frontier and race relations are constructed, and how history is merged with myth and narrative to create a potent period piece with the timelessness of an epic and the urgency of the present.
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