Nitram (2022)

Based on the life of Martin Bryant, the man who murdered thirty five people in mass shooting known as the Port Arthur massacre in 1996, Nitram switches Bryant’s name to the films title (or simply Martin backwards if you like). Nitram is played, quite magnificently, by Caleb Landry Jones, as he struggles to find normality in his home town, constantly bullied as his out of control behavior finds him at odds with almost everyone he knows. His dad appears to be the one who sympathises with him the most; his mother consistently becomes frustrated and angry with him, seemingly already haven given up on her son living a normal life. Nitram eventually strikes up a bizarre friendship with a rich and reclusive heiress Helen (a wonderful Essie Davis) after attempting to find work knocking on doors and offering to mow peoples lawns. Helen, understandably, appears to be grateful of the company; Nitram seems to be calm in her presence as she offers a quiet understanding that’s been so lacking from his recent life. Not that he’s a nice or easy person to deal with, far from it. Nitram frustrates and angers with his behavior; he’s on medication, but the film invites sympathy with the character that perhaps suggests steps could have been put in place to prevent Nitram’s final curtain. However, director Justin Kerzel makes sure that there’s no shying away from the atrocities that result from Nitram’s end at the films climax, although the film understandably courted controversy in Tasmania on release. Kurzel stops short of showing us the horrifying scenes at Port Arthur, but the degree of menace he builds throughout the film accompanied by a minimalist brooding score keeps the tension ratcheted up for the duration. And that’s not to reduce the film to a simpler status, Kurzel has handled controversy before- his superb 2011 film Snowtown tackled another true-life tale of family dysfunction and murder. He’s also dealt in downward mental spirals as well, taking on William Shakespeare’s Macbeth in 2015. There are shades of Gus Van Sant’s superb Elephant (2003) as well as Paul Greengrass’ 22 July (2018), both pieces portraying true life tales. Elephant is perhaps more pertinent in the sense that it’s based on the Columbine shootings whilst changing the names of characters and locations. Nitram can be attributed as another unqualified success for Kurzel, it’s a terrific piece, but he does owe a huge debt to Caleb Landry Jones for an absolutely stunning central performance that is a masterclass in downplayed psychotic menace. 8.1/10