All eyes will be on David Michôd’s new film The Rover at 10.30pm this Sunday (France time) at the most prestigious film festival on the planet: Cannes. It is in official selection but not in competition. Most recently, he’s been stationed in New York directing an episode of a new television show called Flesh and Bone, set in the underbelly of a New York ballet company. He replied to a few of our questions via email.
Every filmmaker dreams of getting a film into Cannes. Why do you think The Rover did?
Hopefully, it feels like a film they haven't seen before – it's tense and unusual – and because the central performances from Guy and Rob are really extraordinary.
You have said that the film is "not a post-apocalyptic film”, that “this is an Australia that has broken down into a kind of resource-rich Third World country." Can you expand on that?
I didn't want the world of the movie to feel like we'd been reduced to psychotic apes because of a single cataclysmic event. Rather, I wanted it to feel like the entirely plausible and frighteningly possible result of the world we live in today: economic and environmental collapse, as a product of rampant greed and exploitation, reduce Australia to a dangerous resource-rich third world country. Infrastructure, products, and an economy of sorts still exist – they're just broken, fragile and the world of the movie as a consequence is dangerous and unpredictable.