By no means fun, but well-made true story

Not a great film, yet still a thought-provoking one.

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Mr. Prosecutor, I have no idea what charges... if any are being brought against me. Nor do I know what the consequences might be.

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Richard Roxburgh

Julian Maroun

Rahel Romahn

Peter Duncan

Award-winning journalist Peter Greste reports on the Arab Spring uprising, becoming entangled in a deadly game of rivalries. Imprisoned for seven years despite his innocence, he survives on wits alone before release in 2015.

Kriv Stenders

The Correspondent

Monotonous misfire

Quite how you make journalist Peter Greste&apos;s seven years in an Egyptian prison and his dogged fight against terrorism charges into such a dull, un-engaging and unenlightening film is something of a mystery. Perhaps if the film-makers had spent as much time on the script as they did on the absolutely gorgeous prison lighting the result might have been more worthwhile. Instead, we get highly committed performances and endlessly inventive direction in service of a narrative that fails to make proper sense of the actual events, relationships and motivations, and does a poor job of tracking the emotional and physical hardships endured. The endless flashbacks are mostly confusing and ultimately of questionable relevance. And the aforementioned lighting robs the prison scenes of any reality. More crucially perhaps, The Correspondent mostly plays like a very standard prison/legal drama, failing stylistically or tonally to address the almost Kafka-esque absurdity of much of the story. In the end, what should have been a powerful testament to the importance and bravery of journalists like Greste is, sadly, a muddle-headed, and seriously tedious misfire,

Official Trailer

https://m.media-amazon.com/images/M/MV5BZjFhZGU0NWEtNmYxOC00MWY4LTkwMGEtOTRmMjhkYzVkYmRiXkEyXkFqcGdeQXRyYW5zY29kZS13b3JrZmxvdw@@._V1_.jpg

Quite how you make journalist Peter Greste's seven years in an Egyptian prison and his dogged fight against terrorism charges into such a dull, un-engaging and unenlightening film is something of a mystery. Perhaps if the film-makers had spent as much time on the script as they did on the absolutely gorgeous prison lighting the result might have been more worthwhile. Instead, we get highly committed performances and endlessly inventive direction in service of a narrative that fails to make proper sense of the actual events, relationships and motivations, and does a poor job of tracking the emotional and physical hardships endured. The endless flashbacks are mostly confusing and ultimately of questionable relevance. And the aforementioned lighting robs the prison scenes of any reality. More crucially perhaps, The Correspondent mostly plays like a very standard prison/legal drama, failing stylistically or tonally to address the almost Kafka-esque absurdity of much of the story. In the end, what should have been a powerful testament to the importance and bravery of journalists like Greste is, sadly, a muddle-headed, and seriously tedious misfire,

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The Correspondent

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