So I’ve been trying to work my way through all of the “brand name” films, trying to put together my end of the year list, and I thought I’d take a break and slide this film in as a sort of “palate cleanser” with no hope of it being anything more than that. Wow, was I wrong. This might be one of my favorite film experiences this year. It’s no secret that I have a soft spot for films from Down Under, and although this one might benefit from my bias, I feel comfortable recommending it to anyone. It’s not a film filled, like so many others this year, with heroic action sequences, stylistic camerawork, witty dialogue, or over-the-top violence. It’s a film about believable, real characters dealing with an, unfortunately, all-to-real situation. And I can tell you, as I sit here writing this with a tear still on my cheek and a smile on my face, it will make you care about these people.

Rex (Michael Caton) is a crotchety cabdriver in a small Australian town whose worst kept secret is his love for his Aboriginal neighbor, Polly. When his stomach cancer returns, Rex embarks on a cross-country trip to be the first volunteer for Dr. Farmer’s (Jacki Weaver) newly-legal euthanasia machine. As so often happens, though, it’s the journey that becomes more important than the destination.

Michael Caton is the star here, and gives a multilayered, completely believable performance. The film is an emotional roller coaster, very often switching extremes within the same scene (hence my simultaneous tear and smile), and without Caton’s performance to sell it, it just wouldn’t work. Caton is flanked by a couple of other worthy performances, especially from Ningali Lawford as Polly, whose relationship with Rex is alternatingly frustrating and sweet, and the luminous Emma Hamilton as Julie, the London-transplanted nurse now working as a barmaid, who Rex meets along the way. Surprisingly, it’s only two-time-Oscar-nominee Weaver who hits a sour note here, but I feel like it’s really just because she isn’t given much to do.

The film does address the issue of euthanasia, but it doesn’t do it in a preachy way. This isn’t a film about what a man should do when faced with a terminal illness; it’s about what THIS man will do. Although it covers a vast distance (3,000 km, I think he said), it’s a very intimate, personal film, adapted by Reg Cribb from his stage play, and handled with a light touch from director Jeremy Sims. There’s nothing flashy here, and that’s a good thing.

I’m hoping this is going to find a place in my list, but I’m sure it will get at least an honorable mention. It may not be one of the most polished films of the year, but it was one of the most satisfying. IMDB says 7.2; I say at least that, with a possible bump up to an 8 if you also like Australian cinema or any of the players involved. And I would advise not reading anything more about it, or even watching the available trailer if you’re interested. I thought some of the nicest moments were given away cheaply in it. (running time 2:03)