OF AN AGE

Australia, 2022, 100 minutes, Colour.

Elias Anton, Thom Green, Hattie Hook.

Directed by Goran Stolevski.

Of an Age has received quite some critical acclaim. It was written and directed by Goran Stolevski, born in North Macedonia, coming to Australia as a teenager, arts and studies in Melbourne, making several short films and contributing to the television series, Nowhere Boys. He made his first full-length film in Macedonia, Macedonian language, You are not Alone.

However, Of an Age is set in the Melbourne that the director knows. There are several mentions that the central characters went to school at Watsonia High. There are references to Greensborough and Bundoora and a drive to Altona. So, this drama is strongly embedded in the suburbs of Melbourne, some leafy, some industrial. The film has atmosphere.

The film has two time eras. The first half of the film is set in 1999. Then there is a transition to 2010. The action in both time spans takes in 24 hours each.

What is distinctive about the style of the film is its constant use of close-ups, extreme close-ups, especially of faces, profiles. We are introduced to the central characters and stay with them. Faces and body language are a key to the themes of the film and what is going on in each character.

In 1999, Kol, his family from Macedonia, is set to participate in competitive dance finals, glimpses of him and his dancing routines. However, his partner in dance and friend, Ebony, has had a heavy night, is lying on the beach at Altona the tide coming in, desperate, phoning, tantrums and self-righteous, demanding that Kol contact her brother, Adam, to come and pick her up. Then we spend some time with the three of them, inside Adam’s car.

Kol is very serious, played by Elias Anton, looking older than the 18 he is supposed to be. (However, he looks much more credible in 2010 at 30, though at the time of filming he was 23.) Adam is played by Thom Green, sympathetic, more than patient with Ebony (Hattie Hook), just out of a relationship with his boyfriend. Which introduces the sexual orientation theme.

The rest of the day is long for both Kol and Adam, at Ebony and Adam’s house, Kol going home and family and friends watching the football, invited out to a party, talking with Adam, a sexual encounter in his car. And then the transition to 2010.

A great deal has happened to each of the characters in the meantime, Adam was going to South America to complete PhD studies. We find that Kol has gone to Europe. They meet at the airport, both coming home for Ebony’s wedding. Each is tentative, a great deal happening in 11 years, changes. Most of the action takes place at the wedding, Kol finally dancing with Ebony with style, tension with Adam, talking, realisation of the bonds between them – and audiences left to make up their own minds as to what decisions will be made.

The characters are very sympathetic (but not Ebony) inviting audiences to share their lives and feelings.

1. The title? Kol and his age, Australian society, 1999, 2010, social attitudes, gay orientation?
2. The Melbourne settings, the suburbs, named, Watsonia and Watsonia High, Greensborough, Bundoora, the trip to Altona? The suburban landscapes, industrial, homes? The musical score?
3. The structure of the film, the anguished opening with Kol? 1999, the action taking place over 24 hours? The transition to 2010, the action taking place over a day? The effect for the audience, immersed in 1999, appreciating the characters, relationship, discoveries? Taking the gap of 11 years? The characters meeting again – and the ending left to the audience wishes and decisions?
4. The visual style, the use of close-ups, some extreme close-ups, focus on faces, profiles? 1999 and the long car journey and faces? Opening up in 2001, the airport, the drive, the family home, the wedding reception, the dance?
5. Kol and his story, age, approaching 19, friendship with Ebony, dancing together, at home, his mother working hard, his younger brother, the phone, the uncle? The society of family, watching the football? At home, yet alienation? His dance skills, seeing him rehearsing, his clothes, the finals?
6. The introduction to Ebony, on the beach, the tide coming in, bewilderment, the phone, asking the mother and child recording, phoning Kol, desperate, incoherent, demanding, self-righteous? The urge to contact Adam? Waiting, their arrival, continuing her tantrums in the car? Not caring about the finals? Wanting to get into NIDA, Macbeth, the quotes, the revelation that she had not got in? The encounter at the cafe, Kol, the invitation to the party? Her going, her carrying on? Inviting Kol?
7. Adam, his place in the family, a broken partnership, the videos in the box, meeting Kol, the talk in driving to Altona, Kol and the finals, the map? Adam and his studies, linguist, Spanish, Kol reading Borges, Adam and his PhD, going to South America? The bonding between them? The return to the family home, the change of clothes, each responding to the other? Kol and the farewell after the family dinner before Adam’s departure, the phone call, going to the party, at the party? Going to the hill, the kiss, the sexual episode in the car?
8. The transition to 2010, airport, Kol and his change in appearance, looking more his age, the two seeing each other, tensions, embrace, the lift, the prospect of Ebony’s wedding? Tentative talking between the two? At the family home?
9. The wedding, the ceremony, the bride and groom and the dancing (and Kol seeing the groom in the bathroom and the woman coming out)? Avoiding Adam? Adam, observing?: The conversation with the young woman? The decision to dance, dancing with Ebony? Then leaving? Adam following him, the talk, Adam and his history, the issue of gay marriage and Adam marrying in New York?
10. The ending, Adam following coal, Kol stopping, the embrace – and the audience speculating about the relationship and the decisions of each?