Homegrown films have taken Australian docudrama to a new level this year, with Croker Island Exodus – the story of the journey of 95 Aboriginal children from their community on Croker Island to the sanctuary of Sydney in World War Two – among those creating a buzz.

By STEPHANIE HORE

AUSTRALIAN docudrama has reached new level this year, with Croker Island Exodus among those creating a buzz on the festival circuit.

The story follows the daunting and arduous journey of 95 Aboriginal children from their community on Croker Island to the sanctuary of Sydney during World War Two. Originally taken from their parents at a young age, the children are moved to the Croker Island missionary base for their education and assimilation into the white class system.

Following Japan’s unrelenting sweep over Asia and gradual encroachment on Australian land, the missionaries are faced with the choice of leaving the children behind, almost certainly securing their fate with depleting resources and no adult guidance.

Resolving to stay with them, the three female missionaries begin to realise the horror in reaching the mainland with 95 children in their care, each one uncertain of their fate and future.

Making their way through the middle of Australia, the group scavenges for food and uses the many resources of nature to keep themselves alive. The children replenish their water supplies from lily stalks and drink from buffalo waterholes, while climbing for berries in the plum trees for food.

They row through the East Alligator River and onwards as they face hunger, death and uncertainty, yet never lose faith in their adopted brothers and sisters.

The story of the Croker Island children was retold and dramatised by Baz Luhrmann in his feature film Australia – but here the story is real and personal.

Screenwriter and producer Danielle MacLean decided to make Croker Island Exodus after her cousin came to her insisting that the story be told. Her great aunt, Connie, was one of the children evacuated from the island. And this very personal connection to the story may account in part for the fantastic attention to detail in the film.

“When I started researching the documentary I realised what an amazing feat the evacuation was and then became determined to see it made so that all Australians have the opportunity to know this story,” she said.

Similarly, director Steven McGregor’s interest in the film came from within his family heritage. His mother grew up on a mission, so he admits he is a little “conditioned” to Stolen Generation stories. Nevertheless, Steven explains that such stories still break his heart. “They were just kids…it was only later in life when they looked back that they understood what they achieved,” he said. 

As director, Steven creates a perfect harmony between the current and historical footage, building a compelling bridge between age perspectives, from the women as their young selves to themselves as elderly ladies. This allows the viewer to see how the children would have coped with their challenges and changes, touching on their innocence and naivety.

There are small moments of tragedy and anguish throughout the film. Reflecting on the days as very young children of the Stolen Generation, the film shows the struggle Alice, Netta and Jessie had to endure when attempting to reconnect with their family after many years. Their appreciation of the missionaries contrasts sharply with the agony of being taken from their original families, creating a tension which is absolutely heartbreaking.

This film not only delivers a very close inspection of the three women’s childhoods, but reflects on how the government’s decisions and those of the missionaries impacted on 95 lives. Resealing belief in the formidable human spirit, Croker Island Exodus rediscovers the foundation of trust and love within families, which are ours not just by blood, but at an even more profound, though intangible, level.