Written and directed by Rolf de Heer. It took many goes to get through, mostly because there's nothing of interest here unlike some of his previous features like Ten Canoes (2006) and Charlie's Country (2013).
The lack of dialogue and the overly-photographed locations (the Flinders Ranges and (IMDB tells me) Tasmania) means the experience degenerates to parsing visual cliches. The obviously-bad guys mumble in something vaguely Germanic, wear World War I-era gas masks like an old episode of Doctor Who and wield bolt-action rifles of a similar vintage. Obviously bad guys are white and racist and so they strand Mwajemi Hussein (credited as BlackWoman) in a cage on a trailer in a salt pan in the middle of nowhere for reasons unknown. She breaks out and walks to an industrial area, having a few unkind encounters along the way, where she is enslaved (I think), again in a Doctor Who sort of way. Breaking free she returns to her country with an injured young Indian woman (Deepthi Sharma credited as BrownGirl) only to expire in the locked cage on the trailer as if it was all a dream.
I guess you could consider it a theatrical take on the great cycle of life, the karmic wheel, the alienation of humanity from both nature and industry, the survival of a woman named Kindness, I don't know. Nothing much is made of the fact that she is Black but not Australian Indigenous. It reaches for District 9 (2009) at times but lacks the humour of that and The Unknown Industrial Prisoner (1971). The best bit was Sharma doing tai chi in a graveyard with a mountain backdrop. The cake at the start reminded me of the The Missing Picture (2013).
Surprisingly widely reviewed. The mainstream reviewers tried to boost: Luke Buckmaster (cryptic, meditative, burrows in deep), Paul Byrnes, and less so Peter Bradshaw (dreamlike, floatingly indeterminate). Those less reflexive about pumping the local product were unenthusiastic: Norah Masige (essentialises coloured people, trauma porn), Nadine Whitney (unsubtle).
