High Ground

Rated: MA15+High Ground

Directed by: Stephen Maxwell Johnson

Written by: Chris Anastassiades

Produced by: David Jowsey, Maggie Miles, Witiyana Marika, Greer Simpkin, Stephen Maxwell Johnson

Starring: Jacob Junior Nayinggul, Simon Baker, Callan Mulvey, Jack Thompson, Witiyana Marika, Aaron Pedersen, Caren Pistorious, Esmerelda Marimowa, Ryan Corr, Sean Mununggurr.

When you’ve got the high ground, you control everything

“Be quiet!” someone cussed at the other critics, chatting in the audience.

And then the film began, in complete silence.

Only the sound of birds twittering.  And screeching.

High Ground is a revenge film set in the early 1900s.  The days of the early settlers in Australia, when the indigenous population killing a cow could lead to massacre in retribution.

When a young boy, Gutjuk (Jacob Junior Nayinggul) witnesses his family killed by white settlers, Travis (Simon Baker), the army officer leading the team, takes Gutjuk in his arms, disowning the behaviour of his countrymen.

He leaves his army days behind.

Fast forward twelve years and we see the Wild Mob burning up settlements and causing mayhem.

Mayhem led by Baywara.

Gutjuk’s uncle taking revenge.

There’s more here than a little boy seeing his family killed.

There’s the complicated nature of finding the balance between the people already living on the land and those wanting to own the land; those who take and those who want to listen.

The complex nature of settlement is embodied in the character Travis.  A white man scarred by the slaughter of innocents by his countrymen.  He disowns the status quo but is unable to get away from his past.

There’s taking revenge to be someone, where standing in anger is better than feeling the pain of being treated like nothing.

Then there’s Gutjuk, re-named Tommy.  The little boy taken to live in a white settlement.  Loved.  But never forgetting his roots.

The conflict is intense but the film is quiet, inviting the audience to listen.  Really listen.  Making High Ground a tense film built on the sound of the land.

I can’t recall a soundtrack at all.  Just the sound of birds and language, the somehow warm slither of a snake across rock like fingertips over velvet.  Like the animals provided another voice all set in the vast landscape of the Northern Territory: Arnhem Land.

The dialogue is simple.  Sparse.  Too sparse.  But that’s what allows the sound of the birds to speak.  So there’s an immersive brilliance to the film broken by confronting moments of violence.

I kept jumping.

But because of this quiet focus, some of the story felt glossed over.  So I was in this magical moment, then frowning when the narrative didn’t add to the relationships of the characters, the storyline somehow underdone.

What absolutely hit the mark was the performance from Jacob Junior Nayinggul – I believed every single word, his character Gutjuk, a highlight.

But more than anything it’s bringing the land into the story that makes this film unique.

I am Gutjuk, meaning hawk.

The totem of the hawk a constant presence, a forever watchful eye.  High above, everything.

Recommend watching this one on the big screen.

All Traditional Owners of the land on which HIGH GROUND was filmed gave their blessing for the film and provided unprecedented access to country. On request of the Jawoyn the Kakadu National Park management closed tourist access to one if its key attractions the stunning Gunlom Falls for the filming of key scenes. Many local Aboriginal people worked on the film in front of and behind the camera.

Full Statement by Galarrwuy Yunupingu ” HIGH GROUND is a both-ways film, First Nations and Balanda. It depicts a time of trouble in Australia; it honours our old heroes, reminds us of the past and the truth of our joint history in the country. I hope that this film can play an important role in Australia’s national conversation towards a First Nations Voice enshrined in the Constitution so that all our children will walk in both-worlds, never forgetting the past.” Galarrwuy Yunupingu AM Gumatj Leader

White Lie

Directed and Written by: Yoah Lewis, Calvin ThomasWhite Lie

Produced by: Yonah Lewis, Calvin Thomas, Katie Nolan, Karen Harnisch, Lindsay Tapscott

Starring: Kacey Rohl, Amber Anderson, Martin Donovan and Connor Jessup.

TIFF-nominated

White lie is the story of a girl who fakes having cancer.  A story that sounds familiar, the unfortunate truth the basis of the film – see article: directors (Yoah Lewis, Calvin Thomas) on the real scams behind their film here.

I was bracing myself, wondering if I could be in the mood to watch, White Lies, but from the opening scene of Katherine (Kacey Rohl) with a ‘K’, shaving her head, I was absorbed.

Immediately we know something’s not right.

She’s on posters, she’s on the cover of a magazine, she’s the lead of a dance group.

People give her money.

People watch her and smile.

She’s the centre of attention.

Everything is going fine for Katherine, until she needs to produce her medical records.

I could not look away from the amazing performance of Kacey Rohl as the character Katherine lies to cover lies, to cover herself and see just how far this girl will go to keep her secret.

Does her girlfriend (Amber Anderson) know?  I wonder as pillow talk turns to articles and donations.

Does her father (Martin Donovan) know?

How far can she take it?

That’s what kept me watching.  Waiting to see the unravelling.  Wondering what would drive someone to lie about having cancer.  Wondering if that’s all it takes to fool people: a young, sad girl holding her nerve, allowing people to see what they want to see.

Not able to believe someone could lie but the suspicion once raised a trauma of seeing and not seeing.

Another story for the media.  Another Facebook Page.  Another sad story to believe and charity to donate to.

But rather than get bogged down in the sensationalism, the film directs a clinical eye to record the misdeeds of lie and cover-up, the seamless unfeeling fantasy underlined with the warped scratch of strings, the soundtrack the indication of a broken mind because watching Katherine, she seems fine.

But she’s not OK because she will never see the wrong in what she’s doing.

It’s like the audience is allowed a window to see the truth while those around her are thoroughly fooled.  So instead of an unsettling fear like I expected, the film became a fascination.

Instead of another warning about social media, White Lie is an absorbing psychological thriller.  A film simply told so the complication of an unsound mind becomes a watch that’s both subtle and revealing.

Penguin Bloom

Rated: PGPenguin Bloom
Directed by: Glendyn Ivin
Based on the book by: Cameron Bloom and Bradley Trevor Greive
Produced by: Naomi Watts, Emma Cooper, Bruni Papandrea, Steve Hutensky, Jody Matterson
Starring: Naomi Watts, Andrew Lincoln, Jackie Weaver, Griffin Murray-Johnston.

‘Mum’s not the person she once was and she’s not the person she wanted to be.’

When a railing on a rooftop lookout gives way under her weight during an idyllic family holiday in Thailand, Sam (Naomi Watts) plunges several storeys to the ground. Sam had been an ‘awesome’ mum, the type who would go surfing and skateboarding with her three boys and would be at the centre of all the fun until she finds herself wheelchair bound.

The film opens at first light with a soaring bird’s eye view of the cliff tops surrounding Sydney’s Northern Beaches. The ocean is calm and clear, and the location is stunning. It’s a year after Sam’s accident and she is failing to adjust to her new reality. It’s an adjustment that not everyone makes. When the boys fall ill it is their father (Andrew Lincoln) they call for; as a mother she can barely even make the boys a cut lunch for school. Sam has always loved the water, now she dreams that she is sinking to the bottom of the ocean trapped in her wheelchair and, to her horror, it doesn’t feel unpleasant.

It is not only Sam’s vertebrae that are broken, the family are barely managing either. In his room, Noah (Griffin Murray-Johnston) is secretly videotaping the fragments of his mother’s life that have survived after Sam momentarily gives in to her rage and pain and smashes all the photos of her former life hanging above the mantelpiece. Blaming himself for his mother’s accident, Noah cuts himself off.

On a trip to the beach with his brothers, Noah is wandering alone when he notices a large goanna. Following its eye line, he spies a magpie chick in deadly peril. The little black and white bundle of feathers had fallen from its nest high in the treetops and, while it had survived the fall, it had lost its mother and is about to become supper for a hungry reptile.

Noah carries the tiny orphan home, but it cries out pretty raucously whenever it is left alone and it isn’t interested in eating. Even when Penguin settles into the household, the bird is reluctant to fly. Noah muses that maybe Penguin isn’t able to fly because she is motherless: ‘I read that baby birds dream of their mother’s soul and that’s how they learn to sing.’

Penguin’s predicament is, in many ways, a parallel to Sam’s. Neither one was what they might have been before their fall but they will both become, ‘Much more than that’.

Penguin Bloom is a quietly poetic and uplifting film. One that asks those questions for which there are no answers, but need to be asked regardless. Every year 20 million people visit Thailand, and that railing could have collapsed at any time on any one of them, yet it collapsed exactly when it did.

By the way, if you like to walk out as soon as the credits roll you’ll be missing out on a treat this time.

Music

Rated: MMusic

Directed by: Sia

Screenplay by: Sia, Dallas Clayton

Produced by: Vince Landay, Sia

Starring: Kate Hudson, Leslie Odom Jr, Maddie Ziegler.

Music opens onto an eye-poppingly bright yellow stage set, where a carefree girl in headphones twirls to the rhythms of African inspired music. When that scene cuts to the bedroom of the sleeping girl as she begins to awaken, the musical sequence resolves into a window onto the vivid dreams of an autistic girl who can only manage to shamble around in her waking life.

Music is the story of two sisters, Zu (Kate Hudson) and Music (Maddie Ziegler) Zu’s kid sister, each unable to take care of themselves. Zu, growing up with a ‘big’ Junkie for a mother, has followed in her parent’s footsteps, making a career for herself dealing drugs and abusing whatever substances she can scarf down. But Zu is failing badly in her profession, so when the film opens on her she is snoozing her way through a drug and alcohol diversion program. There are no flights into musical fantasy for her, just the cons she is trying to pull when she is awake.

Unlike Zu who has been eking out a life on the margins, the community has taken Music to its heart. Even though Music can barely speak, the news vendor collects clippings of dogs for her and her neighbours each in their own way all look out for her as she shuffles around the inner city streets. Until her beloved Grandmother is taken by a stroke, Music has been comfortably settled in a charmed world. But that is all about to change with Zu coming to take over her care.

Although Music is a heartwarming story and a surprise delivery in the final scene adds the perfect touch, the story takes a long while to take off. There is a fundamental conflict as to whether the film is a musical or a drama. This is particularly so in the early stages before we have had a chance to get know Music and engage with her. Although, the musical interludes have been designed to create a bridge between the mute and ungainly exterior of the girl and the lively person she is within, they slow the drama and for me they were overly long.

At the same time, there is a lot to like about this film and, ultimately, patience will be rewarded. The acting is outstanding, the drama beautifully crafted, the dialogue sparkling and the music sequences improve as they go on to reflect more conflicted inner realities.

Before it has even opened here, Music has sparked controversy with some arguing that the title role should have been played by someone genuinely affected by autism. The film clearly means a great deal to all involved in its production, including a surprise cameo by hard rocker and activist Henry Rollins. I wasn’t expecting that.

But, perhaps I should have been expecting the unexpected in such a quirky film where dealers have found a way to ply their drugs as an act of charity, so now, despite their past misdeeds, they are expecting to go to heaven or at least find their way to paradise.

The Unlit (Witches of Blackwood)

Rated: MA15+The Unlit

Directed by: Kate Whitbread

Produced by: Kate Whitbread

Written by: Darren Markey

Starring: Cassandra Magrath, Kevin Hofbauer, Lee Mason, John Voce, Nicholas Denton, Susan Vasiljevic, Francesca Waters.

We’ve been waiting for you

The mood of, The Unit is like the reflection of a forest on a lake.  Impenetrable.

Ominous.

Until a girl answers her mobile while being driven through the forest with, ‘Hey, what’s up?’

The comment just didn’t fit the mood, awkwardly dispelling the build of tension.

But as the film continued I stopped taking notes because they’re times the story scratches at the door of scary.

Cassie (Cassandra Magrath) is a cop on the edge after witnessing the suicide of a local boy (Nicholas Denton).

The mystery of his death is revealed as the film follows Cassie back to her childhood home in Blackwood after a call from her uncle Clifford (John Voce).

There’s been a death.

Her father.

Cassie is not feeling right with the world.

Cassie tells her boyfriend (Kevin Hofbauer) she has to go home to find answers.

Where it doesn’t take long to realise, The Unlit is a witch heritage story.

Yet there’s mystery because Cassie is followed by the trauma of understanding why the young kid committed suicide in front of her.

And when she finds letters written by her uncle about her mother, Cassie discovers there’s more to her mother then she realises or remembers.  She discovers her mother’s obsession with the forest while in an asylum.  Her mother.  Presumed dead.

Yet still haunting the town of Blackwood.

The haunting is shown in the dark smudge across the eyes of the women who still live there, amongst the absence of men and children.  The absence, or what isn’t said, noted by writer Darren Markey (at the recent Q&A screening at Lido Cinema) as an essential part of the structure of the story.

So there’s mystery but more than anything, there’s atmosphere, created by director, Kate Whitbread in 13 days of shooting.

What made me sit up was the scene set amongst the twisted pines just behind Lorne’s (Victoria) main beach.  A fantastic setting to tap into the mood: a woman stood-too, questioned under the twisted branches of pine, otherworldly.

The trees and ocean are used well to speak like the voices of the dead as the mystery of Cassie and her heritage deepens.

There’s some clever here.  But also some gloss.  Or smudge, like the dark under the eyes of the haunted women of Blackwood is contrived, breaking that careful tone of mystery; like the use of a lamp to create atmosphere fails because, why wouldn’t you use the flashlight on your phone?  Which is in hand, and used for just that function later?

There were times I wondered if the ominous trees were going to be the best part of the film.

So yes, The Unlit is a low budget film.

But as the story progressed the writing shone with some great acting: lead, Cassandra Magrath holding her nerve searching those haunted dark rooms, Nicholas Denton as the dead young Luke a powerful spectre and Nikola Dubois as the haunted friend absorbing in her twisted monologue.

The highlight for me was when John Voce as the uncle speaks of people not being sick, just knowing things we don’t.  Goosebumps.

So, the film doesn’t always suspend reality and is a little obvious at times, but some of the scenes that play out the dark dialogue really tap at the door making, The Unlit, worth a watch.

Nat’s Top 5 Movies for 2020

Top 5 Movies 2020Goodbye 2020.  It’s been a strange year.  I wasn’t at the cinema much this year so I’ve put together my top 5 instead of the usual 10.  Here is what I did get to see, here is what kept me smiling, thinking, keeping me on the edge of my seat.

5. The Vigil

4. The Invisible Man

3. 1917

2. The Gentlemen 

1. Deerskin

 

The Dry

Rated: MA15+The Dry

Directed by: Robert Connolly

Produced by: Bruna Papandrea, Jodi Matterson and Steve Hutensky, Robert Connolly, Eric Bana

Screenplay Written by: Harry Cripps and Robert Connolly

Based on the Book Written by: Jane Harper

Starring: Eric Bana, Genevieve O’Reilly, Keir O’Donnell, John Polson, Julia Blake, Bruce Spence, Matt Nable, William Zappa, James Frecheville, Joe Klocek, Claude Scott-Mitchell, Sam Corlett, BeBe Bettencourt, Miranda Tapsell.

The tone of, The Dry is set in the opening moments: from above, the landscape looks barren, drawing the eye like water into drought-stricken dirt.

A baby cries.

The floorboards of a farmhouse are soaked in blood.

On the back of a note to attend the funeral of a childhood friend, Federal Agent Aaron Falk (Eric Bana) reads, You lied.

The Dry is a mystery of two crimes separated by twenty years that slowly unfolds in the town of Kiewarra.  A town where a spark could start a blaze, a town suffering 324 days without rain.

It’s a country town that holds secrets revealed in the subtleties as Aaron gets caught up investigating a suicide murder case while his own past catches up, locals banging on his door in the middle of the night.

What happened all those years ago?  Why do the locals hate Aaron returning to his childhood home?

What happened to Ellie Deacon (BeBe Bettencourt)?

It’s a slow and quiet mystery that was gripping because of the many moments that ground the story, the local school principle planting a tree in memory of the dead, a kind gesture but bitter sweet: ‘God knows what I’m supposed to tell the kids when it dies,’ he says, knowing the tree will die like so many others in the never ending drought.

And there are so many layers to this story, handled with care by director Robert Connolly – all those subtle moments hinting at character, questioning the action of something as simple as closing a glass sliding door.

There’s some light moments to offset the foreboding drive of drama, from classic characters like the memorable publican, McMurdo (Eddie Baroo) – the pub overrun with customers (said with tongue-in-cheek) or the order of the sea food basket a risky choice being oh so far from the ocean.

Alongside a solid storyline, it’s those moments that nod to the Australian countryside that ground the film in the authentic and is such a pleasure to watch on the big screen.

The landscape reminded me of childhood growing up in country Victoria, those century old gum trees, finding that special spot, that magic tree while watching the dust form whirlwinds across the paddock.

The backbone of the film is Aaron returning home, the flashbacks to those days of growing up and swimming in the river with friends.  Director Robert Connolly explains, “If I was […] to go right to the crux of THE DRY, it’s about the emotional impact of returning to the place you grew up.”

The landscape is captured beautifully here (filmed in the Wimmera Region), the past when the river was flowing.  The tragedy of a young death.  The return to childhood memories to now see the town dry, the once flowing river empty.

What sums up the film for me is the use of the soundtrack – there to amplify those dramatic moments, but noticed even more when absent, with only the sound of the wind.

Overall, I found, The Dry to be a quiet film, mysterious with a subtle slow burn, that’s gripping in the telling.

A Call To Spy

Rated: MA Call To Spy

Directed by: Lydia Dean Pitcher

Written by: Sarah Megan Thomas (original screenplay)

Produced by: Sarah Megan Thomas p.g.a.

Edited by: Paul Tothill (BAFTA nominee)

Starring: Sarah Megan Thomas, Stana Katic, Radhika Apte, Linus Roache and Rossif Sutherland.

It’s your light that lights the world

Inspired by true events, A Call To Spy follows two civilians recruited by Churchill’s new spy agency’s (Special Operations Executive (SOE)) Vera Atkins (Stana Katic), to become the first female spies in the recently fallen France during WWII.

Nazi domination in Europe 1941 asks for extreme measures to disrupt Occupation, to create rebellion, to set France on fire.

Virginia Hall (Sarah Megan Thomas, also producer and writer) is to lead on the ground.

Noor Inayat Khan (Radhika Atpe), the fastest wireless in her unit, to radio the messages.

Operation Brigitte (Virginia’s byline as alias journalist: Brigitte LeContre) is born.

It’s inspiring to watch the courage of the unlikely spies being trained: Virginia the rich American with a wooden leg who dreamt of being a diplomat, and the Muslim pacifist, a descendant of Indian Royalty and believer of peace and truth who refuses to give up, who has resolved to resist the Nazi Occupation of the country she grew up in and loved, France.

The film sheds new light on the hideous grip Nazi Germany had over the French population, the lack of food, forced labour – the betrayal of friends bred out of desperation.

It’s not that the film becomes too bloody or gory, but I always find war movies a difficult watch.

The seeming lightness of, A Call To Spy at the beginning drew me into the exciting world of rescue and secret messages; the danger of getting caught, yet escaping.

But as the war progresses, the deeper the conflict and the more at stake.

As mistakes are made the Colonel Maurice Buckmaster (Linus Roache) admits the horror when doing your best just isn’t enough.  When making the wrong decision means lives are lost.

The task given to Britain’s amateur spies is described by the Colonel as a lonely courage.

So the reality of war, the murder, the betrayal and the secrets even amongst the spies is revealed as the sadness and horror of the brutality of war continues.  Which is why I find watching war movies difficult.  It gets me every time.  The anger.

Yet, I got swept up in this story, which provoked admiration of the courage to keep going, no matter the danger.

Bon courage.

Which shows the quality of the cast and the restraint by director, Lydia Dean Pilcher.

If you’re sensitive to those war provoked emotions.  This one sneaks up.

Virginia Hall is the subject of three 2019 biographies. Her prosthesis, Cuthbert, is named on the Congressional Gold Medal awarded to OSS (precursor to CIA). Noor Inayat Khan was recently commemorated with Britain’s prestigious Blue Plaque.

Wonder Woman 1984

Rated: MWonder Woman 1984

Directed by: Patty Jenkins

Written by: Patty Jenkins, Geoff Johns, David Callaham

Produced by: Charles Roven, Deborah Snyder, Zack Snyder, Patty Jenkins, Gal Gadot, Stephen Jones

​Starring: Gal Gadot, Kristen Wiig, Pedro Pascal, Chris Pine.

For the first time in, it seems like in forever, I settle into my seat as the lights go down and the big, booming bass comes up. All at once, I’m gathered up and soaring over wild and rocky island where a tournament that barely conforms to the laws of physics is taking place between a cohort of Amazons. Their aerial feats heap peril upon danger and I’m immediately swept into a world of strength and precision where it is possible to move over land, air and sea in unimagined and gravity-defying ways.

Unlike other super heroes, Diana of Themyscira (Gal Gadot) is not a fully-formed super being; she makes mistakes and must earn her powers. Amid the pyrotechnics of the genre it’s a subtle distinction, but it underwrites and in some ways allows this movie to nudge the genre’s boundaries.

After a rigorous preparation in physical combat and a painful introduction to ethics, Wonder Woman’s training continues, even while she is out in the world and on the job. When an out of control car careens out of nowhere, Diana instinctively kicks it to the kerb and is at once assailed by doubt. Has her action been seen by the bystanders around her? A momentary impulse may well have blown her cover as a mild mannered specialist in antiquities at the Smithsonian museum.

Not only does Diana buck the genre as a hero who is still learning her craft, the villain (Pedro Pascal) is a man who more than anything wants to live up to an heroic ideal of himself. Instead of a frustratingly invincible villain, this one, grinning snake oil salesman though he may be, is merely a man with a seriously misguided sense of what it is to be a good parent. Together with a highly unusual premise that to embrace the truth you must be prepared to let go of even your dearest wishes and dreams, this combination allows the story to delve into some of the existential dilemmas we must all reconcile. And, despite being set in 1984, in that decade of power dressing, big shoulders and extremely unfortunate leisure wear, the storyline and the question it asks are very much at one with the times in this era of fake news.

But this is a comic come to life and Wonder Woman 1984 is very much a high flying adventure. The towering atrium of a multi-story shopping centre almost doubles as a private gymnasium for Diana when a feckless trio of crooks attempt to rob a jewellery store and grab a child hostage on their way out. But, this time, Diana does remember to take out the security cameras before sheleaps over the handrail.

While some viewers might wish for a deeper emotional frisson between Diana and her long lost love (Chris Pine), for those of us who’ve let their inner child loose this is an unmissable opportunity to upend armoured vehicles travelling in convoy on a lonely stretch of desert highway, lasso bullets and hitch a ride on a commercial flight at the end of a golden rope.

A Christmas Gift From Bob

Rated: PGA Christmas Gift From Bob

Directed by: Charles Martin Smith

Written and Executive Produced by: Garry Jenkins

Produced by: Adam Rolston, Tracy Jarvis, Steve Jarvis, Andrew Boswell and Sunny Vohra

Starring: Luke Treadaway, Bob the Cat, Kristina Tonteri-Young, Phaldut Sharma.

Based on the autobiographical books about James Bowen and a stray cat (Bob) that befriended him on the streets of London, A Christmas Gift From Bob is the sequel to the international Indie film, A Street Cat Named Bob”

While James was homeless and addicted to heroin, the cat’s relentless affection and companionship eventually inspired James to make a go of life.

And the third book of the series, A Gift From Bob documents one of the last Christmases James and his ginger cat spent together before they became famous.

Based on this moment in time, the film opens on a glamorous premiere, launching the first book, following James (Luke Treadaway returning in his role) and Bob (starring as himself) curled around his shoulder, James wondering why he’s there.

He’s meant to write a second book – it’s expected soon and he has no idea where or how to start.

How do you continue a story of redemption once you’re off the streets?  What comes next, except wondering how to keep paying the bills and have food in the fridge?

And what happens when Animal Welfare start investigating, asking questions about James’ ability to care for his friend and companion: the cat who saved his life?

It’s all a little bit inspirational because through hardship there’s growth.

And a hell of a lot of light cheese filled with those aw, moments.  But it’s good cheese, well, absolutely pushing the Bob-the-cat: it’s from Bob, this song is about Bob, this is a card… from Bob…

Cue sweet soundtrack on repeat.

But it’s a Christmas card from Bob as he sits there on his blanket, next to James as he hands out those cards to the other characters in the story, the busker and his cat creating a community of people through their support of the pair.

It’s a movie about what Christmas means to people and how hard it can be for people who have lost their loved ones or have nothing or no one to celebrate, so the film pulls those heart strings, giving those clichéd moments meaning like, what goes around comes around.  And stronger together.

Because like Bea (Kristina Tonteri-Young ) constant friend and supporter of James says: Christmas isn’t a season, it’s feeling.

Bob has now passed.  So it’s kinda sweet to see him there on the screen for everyone to share.

Here’s what James had to say: ”Bob saved my life. It’s as simple as that. He gave me so much more than companionship. With him at my side, I found a direction and purpose that I’d been missing. The success we achieved together through our books and films was miraculous. He’s met thousands of people, touched millions of lives. There’s never been a cat like him. And never will again. I feel like the light has gone out in my life. I will never forget him.”

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