David Trueman, a burnt-out medical student, returns to Melbourne after stints in a South American village and the jungles of New York. Laconically, he explains, “I decided to go back to Australia. What better place to see out the end of the world.” Left to cool out in a drug detox center, he meets and inadvertently escapes with a young woman. Thrown together for a night of nightmarish desperation, they flee the city and set off for a place called “home”.
<i>Wrong World</i> is a perfect film, a hallucinogenic meditation on disillusionment and hope, drawn with an exacting sense of color, texture and sound. Indebted to the linear “road movie” structure of Wenders, <i>Wrong World</i> is marked by intense, almost apocalyptic shifts of time, place and moral positions. David and Mary are a post-modern Adam and Eve, cast out into a spiritually devastated world in search of the emotions that make them human. As much as it is a journey across Australian and American landscapes, <i>Wrong World</i> is a journey into the memory of compassion and the possibility of hope.
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