Female Film Critics 24/375
Moody and atmospheric, Kim Farrant’s Angel of Mine is part psychodrama, part thriller. Thanks to Farrant’s strong storytelling and confidently convincing performances from stars Noomi Rapace and Yvonne Strahovski, the film brings depth and nuance to its compelling tale of a woman convinced that her long-dead baby is actually alive and being raised by another family.
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Kim Farrant’sAngel of Mine is an intense thriller about a woman whose tenuous emotional health is jeopardized when she encounters a girl she believes to be her daughter, whom she thought died in a fire years before. Farrant worked with the actors on expressing the enormity of grief and the power of healing in this gripping film with a big surprise ending.
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From beginning to end, Angel of Mine is a stunning American-Australian psychological thriller with galvanizing, empathetic performances by Yvonne Strahovski and Noomi Rapace. It’s masterfully directed by Kim Farrant who collaborated with Luke Davies and David Regal on the beautifully crafted script inspired by the 2008 French film L’Empreinte de L’Ange.
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Angel of Mine sets us up to expect a nightmarish conclusion, something that is a cross between Vertigo and Fatal Attraction. Except the object of desire is a child and her obsessed stalker is a grieving mother whose life fell apart after her baby daughter died in a hospital fire seven years ago. That director Kim Farrant and writers Luke Davies and David Regal actually deliver a surprise ending that crazily unfolds in a white-bread Melbourne suburb is one of their maternal thriller’s greatest strengths.
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Topping off a stellar year for the work of women filmmakers at the 68th iteration of the Melbourne International Film Festival, that Jennifer Kent’s The Nightingale won The Age Critics Award for the year – the festival’s most esteemed accolade – comes as little surprise. Writing in The Age newspaper (the award issuer), Australian film critic Sandra Hall wrote of Kent’s fearless sophomore feature “We found Jennifer Kent’s depiction of early 19th century Tasmania utterly convincing…the film’s portrayal and condemnation of violence against women is just as pertinent today as it was then.”
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