The Times Australia
The Times World News

.

Christmess is undoubtedly one of the best Christmas films to emerge – from anywhere – in recent years

  • Written by Ari Mattes, Lecturer in Communications and Media, University of Notre Dame Australia
Christmess is undoubtedly one of the best Christmas films to emerge – from anywhere – in recent years

Bona fide Christmas films usually fit into one of the following categories.

There are the sardonic comedies poking fun at the consumerist undertones of the holiday (National Lampoon’s Christmas Vacation, Gremlins). There are the cheesy, schmaltzy Christmas fantasy films (The Christmas Star, Prancer) that strain to impart some of that good ol’ Christmas miracle to the viewer. There are the camp, deliberately kitsch bodgy romps like the Hulk Hogan vehicle Santa with Muscles. And there are the social realist dramas about people just trying to make it through the stress of the period (Almost Christmas).

This is not to mention the numerous Christmas horror films – anti-Christmas films? – that skewer the joy of the holidays with things like axe-wielding Santas (Silent Night, Deadly Night), deranged, obscene phone-calling maniacs (Black Christmas) and evil Krampuses looking to punish the naughty of every stripe (Rare Exports).

Christmess, the latest film from writer-director Heath Davis, fits firmly in the social realist mode.

Alcoholic ex-film star Chris (Steve Le Marquand) leaves rehab and moves into a halfway house with just over a week until Christmas. Living with his sponsor, Nick (Darren Gilshenan), a self-professed Yulephile, and musician and recovering addict Joy (Hannah Joy), he works hard to get his life on track and secures a job as a Santa at a suburban mall. But various obstacles – like bumping into his daughter Noelle, estranged for 20 years – impede his efforts.

As he attempts to develop a relationship with his daughter, he discovers, alas, that despite the optimism of people like his sponsor Nick, simply apologising isn’t always (or even often) enough, even if, as Nick is fond of saying, “Christmas is the time for forgivin’.”

There’s no glorious overcoming or transcendence at the end of the film, and anything that could be interpreted as a “Christmas miracle” is minor to say the least. But there is a definite sense of the development of genuine friendship between the characters, and a sense that the grey world Chris inhabits is at least a few shades warmer by the end of the film (even if, as is so often the case with addicts, macro-level patterns repeat).

Rather than dampening the film, the minor stakes make it a more touching experience – and it is an emotionally engrossing film, satisfying in its combination of melancholy tinged with the vague outlines of hope.

Read more: Christmas films: there might be some truth to stories about hometown romances, according to research[1]

For a low-budget independent film to be successful – and this is a true independent film, which in Australia means no investment from any of the major screen bodies – it needs to be as close to flawless as possible across three fronts.

It needs to look good by embracing a suitable (and usually low-key) aesthetic, it needs to feature excellent actors, and the writing needs to be razor sharp. Christmess succeeds in each area.

The performances, particularly by seasoned veterans Le Marquand and Gilshenan, are exceptional.

Le Marquand has long been one of Australia’s most underrated stars of stage and screen – watch him in Two Hands or Last Train to Freo and it’s hard to understand why he hasn’t developed a longer Hollywood resume – and he effortlessly commands the attention of the viewer here.

Le Marquand dressed as Santa.
Le Marquand effortlessly commands the attention of the viewer. Bonsai Films

Gilshenan, best known for television comedies like The Moodys and Full Frontal, is superb as the kind (if a touch sanctimonious) AA sponsor. Hannah Joy, lead singer and guitarist of Middle Kids, breaks up the drama with some beautifully performed songs.

The dialogue is naturalistic, fitting the minor tenor of the film, with some subtle bursts of wry humour punctuating the drama.

“Most Santas aren’t NIDA graduates,” Chris says to his employer. “You’d be surprised,” she barks in reply.

“I lied,” Chris says to Nick at one point, “I’m an actor and an addict, what’d you expect?”

The cinematography by Chris Bland is excellent – it looks like it’s been shot for cinemas and not streaming, making the most of the wide aspect ratio and long lenses, with the handheld style recalling the imagery of more savage suburban movies like Snowtown.

The film is full of carefully observed details that situate it within a Sydney milieu, capturing the sad banality of so much of suburban life. Unkempt, rubbish-strewn canals, ugly and depressingly empty shopping malls, carefully manicured weatherboard houses – all the stuff they tried to make us forget about during the Sydney Olympics.

At the same time, there are details anyone who’s spent a Christmas in Sydney would immediately recognise: the glorious but slightly unhinged light displays that seem out of place without snow peppering them; a dying Christmas tree, rescued from a fruit shop; much complaining about the heat, as an ancient air conditioner fruitlessly struggles to do its work. There are the ubiquitous Christmas warehouse stores, a barbecue, yellow brick houses, small, carefully mowed lawns, and lots of sweat.

Two men and a woman at the Christmas table. Christmess is full of carefully observed details. Bonsai Films

The film’s only weakness – and it’s minor – is the score, which seems a little uninspired but, thankfully, is used minimally.

Christmess is an exceptionally well-crafted independent film punching well above its weight in terms of budget. It lingers in the imagination far longer than most Hollywood-scale productions.

There’s a subtlety to it unusual for contemporary cinema, which tends to browbeat viewers in an insufferably didactic register. It wouldn’t surprise me if this were at the top of lists of Australian Christmas movies. It’s undoubtedly one of the best Christmas films to emerge – from anywhere – in recent years.

Christmess is in cinemas from today.

Read more: Christmas Ransom: I quite enjoyed watching this (terrible) new Aussie Christmas film[2]

Read more https://theconversation.com/christmess-is-undoubtedly-one-of-the-best-christmas-films-to-emerge-from-anywhere-in-recent-years-218435

Times Magazine

Why Social Media Marketing Matters for Businesses in Australia

Today social media is a big part of daily life. All over Australia people use Facebook, Instagram, TikTok , LinkedIn and Twitter to stay connected, share updates and find new ideas. For businesses this means a great chance to reach new customers and...

Building an AI-First Culture in Your Company

AI isn't just something to think about anymore - it's becoming part of how we live and work, whether we like it or not. At the office, it definitely helps us move faster. But here's the thing: just using tools like ChatGPT or plugging AI into your wo...

Data Management Isn't Just About Tech—Here’s Why It’s a Human Problem Too

Photo by Kevin Kuby Manuel O. Diaz Jr.We live in a world drowning in data. Every click, swipe, medical scan, and financial transaction generates information, so much that managing it all has become one of the biggest challenges of our digital age. Bu...

Headless CMS in Digital Twins and 3D Product Experiences

Image by freepik As the metaverse becomes more advanced and accessible, it's clear that multiple sectors will use digital twins and 3D product experiences to visualize, connect, and streamline efforts better. A digital twin is a virtual replica of ...

The Decline of Hyper-Casual: How Mid-Core Mobile Games Took Over in 2025

In recent years, the mobile gaming landscape has undergone a significant transformation, with mid-core mobile games emerging as the dominant force in app stores by 2025. This shift is underpinned by changing user habits and evolving monetization tr...

Understanding ITIL 4 and PRINCE2 Project Management Synergy

Key Highlights ITIL 4 focuses on IT service management, emphasising continual improvement and value creation through modern digital transformation approaches. PRINCE2 project management supports systematic planning and execution of projects wit...

The Times Features

Introducing the SE 2 and Mini hair dryers from Laifen

The Mane Attractions for Professional Styling at Home Without the Price Tag Fast, flawless hair is now possible with the launch of Laifen’s two professional quality hair dryers th...

Home Gym Recovery Routines: What Pro Athletes Do After Workouts

Training is only half the equation. What you do after your workout has just as much impact on your progress, performance, and long-term health. Professional athletes know this, w...

Flipping vs. Holding: Which Investment Strategy Is Right for You?

Are you wondering whether flipping a property or holding onto it is the better investment strategy? The answer isn’t one-size-fits-all. Both strategies have distinct advantages a...

Why Everyone's Talking About Sea Moss - And Should You Try It Too?

Sea moss - a humble marine plant that’s been used for centuries - is making a major comeback in modern wellness circles. And it’s not just a trend. With growing interest from athle...

A Guide to Smarter Real Estate Accounting: What You Might Be Overlooking

Real estate accounting can be a complex terrain, even for experienced investors and property managers. From tracking rental income to managing property expenses, the financial in...

What Is the Dreamtime? Understanding Aboriginal Creation Stories Through Art

Aboriginal culture is built on the deep and important meaning of Dreamtime, which links beliefs and history with the elements that make life. It’s not just myths; the Dreamtime i...