Synopsis
The O'Neills lived happily in their house in the Australian countryside. That was until one day fate struck blindly, taking the life of Peter, the father, leaving his grief-stricken wife Dawn alone with their four children. Among them, eight-year-old Simone denies this reality. She is persuaded that her father still lives in the giant fig tree growing near their house and speaks to her through its leaves. But the tree becomes more and more invasive and threatens the house. It must be felled. Of course, Simone won't allow it.
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Cast
- Charlotte GainsbourgDawn O'Neil
- Morgan DaviesSimone O'Neil
- Marton CsokasGeorge Elrick
- Christian ByersTim O'Neil
- Tom RussellLou O'Neil
- Gabriel GottingCharlie O'Neil
- Aden YoungPeter O'Neil
- Penne Hackforth-JonesMrs. Johnson
- Gillian JonesVonnie
- Murray ShoringCouncil Inspector
Recommendations
- 80
The New York Times
The movie is truly a tree-hugger's delight (I confess to being one such hugger) that makes the most of its metaphors without straining toward supernatural schmaltz. - 75
New York Post
Be warned: The Tree is slow-moving, but if given a chance, it will (pardon the pun) grow on you. - 67
The A.V. Club
Yes, the idea that the tree/father is literally tearing this family apart is way too blunt, but Gainsbourg and Davies sell it by playing the scenes naturally, with minimal histrionics. - 60
Time Out
The movie's mundane account of moving on is ultimately more gripping than its wooden metaphors. - 60
New York Daily News
Falls short of being revelatory, yet has a mysterious, sturdy power that grows on you. - 60
Boxoffice Magazine
Stunningly shot by cinematographer Nigel Bluck (Handsome Harry) the film captures beautifully the magic of the foliage and the surrounding landscapes. - 55
NPR
On a technical level, The Tree marks a significant advance over the humble utility of Bertuccelli's previous film, drinking in Australia's pastoral majesty with an abundant eye for beauty that falls just short of the intended poetry. Yet the characters aren't nearly as resonant. - 50
Slant Magazine
This is one film that's overly reliant on a dubious central symbol, schematically employed.
