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High Ground review – Simon Baker narrowly escapes white saviour tropes in colonial Australia Luke Buckmaster “When you’ve got the high ground you control everything,” Travis (Simon Baker) tells Gutjuk (Jacob Junior Nayinggul) during a key moment in director Stephen Johnson’s meat pie western, shot on location in Kakadu national park and Arnhem Land and set in the early 20th century. This is what we call a “title drop”, an oddly satisfying moment given it simply consists of a person inside the narrative universe pronouncing the title of the film. It isn’t one of those eye-rolling title drops, like when grizzly old Liam Neeson grumbled “she’s been taken” in Taken, or when a man unhelpfully told Casey Affleck “I pray for her, because she’s gone baby gone” in . yes . Gone Baby Gone. Johnson’s film – written by Chris Anastassiades and produced by Witiyana Marika, who was one of the founding members of Yothu Yindi and appears in a support

Mal david wenhamCasey affleckWitiyana marikaStephen johnsonAaron pedersenYothu yindiJack thompsonClare aisling franciosiBaywara sean mununggurrBilly baykali ganambarrRyan corrHanif ahmed malekTravis simon bakerAndrew commiChris anastassiadesLiam neeson