Australian writer-director Rolf de Heer is an extremely visual filmmaker, and his images stay with you. Ten Canoes' authenticity is guaranteed by a close collaboration with the Aboriginal community.
Ten Canoes (2007)
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Reviews Counted:57
Fresh:56
Rotten:1
Average Rating:7.7/10
Consensus: Ten Canoes combines adventure, comedy, and anthropology to explore an Aborigine folk tale both fallibly human and legendary. Helmer Rolf de Heer depicts a barely represented oral tradition with a clean style.
Theatrical Release:01-06-2007
Synopsis: A thousand years ago, tribal times in the north of Australia. Ten men, led by old Minygululu, head into the forest to harvest barks for canoe making. It is the season of goose egg... A thousand years ago, tribal times in the north of Australia. Ten men, led by old Minygululu, head into the forest to harvest barks for canoe making. It is the season of goose egg gathering. Minygululu learns that young Dayindi, on his first egg hunting expedition, has taken a fancy to Minygululu's third and youngest wife. Tribal law is in danger of being broken: Minygululu deals with the situation by telling Dayindi an ancestral story, a story that will take a very long time to tell, all through the next days of canoe making and swamp travelling and goose egg gathering. This is that story: Long ago, in mythical times, just after the great flood covered the whole land, Ridjimiraril lives with his three wives, wise Banalandju, jealous Nowalingu and beautiful young Munandjarra, in a camp with others, including Birrinbirrin, a fat man who loves honey. Some distance away, in the single men's camp, lives Yeeralparil, Ridjimiraril's younger brother. Yeeralparil has no wives yet, and none promised, but is keen on that beautiful Munandjarra, who he feels should be his. One day, a Stranger approaches, without warning. The men are alarmed, especially when the Stranger claims he is there to trade in magic objects. He is given food and sent on his way. The sorcerer comes to warn the men of the possible dangers, but declares the camp is safe. Life goes on as normal. After a fight with Banalandju, Nowalingu vanishes. Ridjimiraril is convinced his beloved second wife was taken by the Stranger, but the consensus is that being jealous, she simply ran away. Months later an old uncle reports having seen Nowalingu in a distant camp with the Stranger. The men are galvanised into action: a war party sets off, but without Yeeralparil. Both brothers cannot go... if the older one is killed, the younger one must take over his wives. Yeeralparil hangs around the main camp in the hope of seeing Munandjarra, but Banalandju ensures a safe distance between the two. The war party returns, without Nowalingu: the old uncle's eyes must have deceived him. Ridjimiraril, still convinced it was the Stranger who took Nowalingu, slides into depression, until Birrinbirrin runs into camp with the news that the Stranger has been seen nearby. Ridjimiraril tells Birrinbirrin he's going to talk to the Stranger but grabs his spears and takes off, Birrinbirrin puffing behind. Deep in the bush they see the Stranger, squatting for a shit. Ridjimiraril launches a spear. An inspection of the body, however, reveals that Ridjimiraril has killed the wrong stranger. There are sounds of approaching people. Ridjimiraril breaks the spear off and they quickly hide the body. But they do not hide it well enough. Days later Ridjimiraril and Birrinbirrin are accosted by a group of warriors including the Stranger. They have identified the spearhead in the Stranger's brother's body as having been made by Birrinbirrin, and they want payback. Ridjimiraril confesses, and the location and time for the payback ceremony is agreed to. A sad little procession of men leaves camp for the payback. This time Yeeralparil can go, as only one person is to be speared, either Ridjimiraril or his payback partner. Yeeralparil argues that it should be he, young and nimble, who ought partner his brother. Ridjimiraril agrees, and together the two brothers face the spears from the aggrieved Stranger's tribe. That is the law, and the law must be upheld. Ridjimiraril is speared. Justice done, he is helped back to camp. Banalandju tends his wound, but instead of getting better, as he should, Ridjimiraril declines: it is as if a bad spirit has invaded his body. Even the sorcerer can do nothing. In his last moments before dying, Ridjimiraril staggers to his feet and begins to dance his own death dance...then he collapses and dies. After all the correct ceremony has been performed, Yeeralparil finally moves into the main camp, to be with his Munandjarra. But he's inherited a great deal more than he expected... Minygululu's story is over, the goose egg hunters return home. Dayindi has learnt his lesson, and when opportunity presents, he declines...maybe some day he will have a wife, but it won't be someone else's. [More]
Starring: Crusoe Kurddal, Jamie Gulpilil, David Gulpilil, Richard Birrinbirrin
Starring: Crusoe Kurddal, Jamie Gulpilil, David Gulpilil, Richard Birrinbirrin, Peter Minygululu, Frances Djulibing, Philip Gudthaykudthay
Director: Rolf De Heer, Peter Djigirr
Director: Rolf De Heer, Peter Djigirr
Screenwriter: Rolf De Heer
Producer: Rolf De Heer, Julie Ryan
Studio: Palm Pictures
Reviews for Ten Canoes
It is rare that film can transport its audience to a strange, unfamiliar, yet entrancing world. Ten Canoes, an Australian movie that tells an ancient Yolngu tale, presents such an extraordinary experience.
A wonderful celebration of storytelling that should translate to any audience in any world.
...takes us deep into another world while telling a story of the human condition with wisdom, heart and humor.
One of the best films of the year and what will become an ageless standard in preserving and depicting aborigine culture and the tragicomedy of the human race.
Australian director Rolf de Heer deftly mingles two styles of storytelling: cinema and aboriginal oral customs.
It taunts us with resolution and mysteries, then slaps our hand for reaching out for a conclusion. That's a natural expectation that the filmmakers are happy to subvert.
This strikingly beautiful and strange drama immerses moviegoers completely in a world they have never seen.
This is also not exactly what you'd call action-driven; it's a bit slow and talky. But those who are patient and open-minded will be rewarded with its unique rhythms and beauty.
The particular and universal aspects of myth converge in an often humorous drama that illuminates the indigenous Yolngu people yet also echoes creation stories from other cultures.
The movie -- the first entirely in Australian Aboriginal languages -- is a marvel of warm collaboration and shared jokes about husbands and wives, shot both in dreamscape color and pristine black and white.
A film that testifies to the multicultural mood of our own moment in time.
De Heer’s indigenous action-comedy relies on its own puckishness a few times too many, but its tribute to the power of a well-spun yarn couldn’t be more effective.
A rollicking good story set a millennium ago among Australian aborigines, Ten Canoes is one of those cultural-building exercises that genuinely entertains.
Underlines the timelessness of an unchanging culture perfectly suited to its place. Ten Canoes is a feel-good rumination on human experience, and the connections we share not only from place to place but across time.
Funny, perceptive, bawdy, tragic and philosophical, pretty much everything a viewer -- or a listener -- could ask for.
It's not every director with a camera and curiosity about his fellow man who'd try a stunt like this. And it's not every viewer who'll be content just to watch and listen as the story slowly unfolds.
Despite dancing between a story and a story within a story, something seems simple and effortless about Ten Canoes. Director Rolf de Heer and his all-Yolngu cast offer a take on tribal life that's warm, funny and powerfully alive.
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