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The Australian film Jindabyne (dir. Ray Lawrence, 2006) opens with a blurry shot of dry grasslands and a string of barbed wire in sharp focus horizontally across the screen (Fig. 1). The shot runs for 32 seconds before the camera tilts up, bringing into focus both the grassland and a cluster of huge boulders on a hill in the background – all in one take, no cut. Next the camera shows a pick-up truck, motor idling, with an older non-Aboriginal man behind the wheel hiding behind the rocks – the murderer of an Aboriginal woman, as we will learn later – followed by an extreme high angle long shot of the dry landscape below the hill where a car is approaching. Shots inside the car present a young Aboriginal woman, happily driving, while intercutting shows the man leaving his hide-out to intercept her.

Jindabyne and the Apology: Intercultural Relations, Violence, Ethics, and the Precarious State of Reconciliation in Australian Cinema