Featuring: Aamion, Daize, Given and True Goodwin.
Writers: Jess Bianchi, Malia Mau and Yvonne Puig.
Director: Jess Bianchi.
The ambitious scale and humanistic themes of Jess Bianchi’s Given come through with dazzling clarity from the opening frames of his beautiful familial odyssey. The debutant director’s chronicle of discovery and humanity is a wake-up call – an early close-up of a rooster in full morning voice attests to that. This is followed by images of a father, enigmatic surfing great Aamion Goodwin, and his 6 year-old son, Given, soaking themselves in the muddy goodness of the earth, while heavily pregnant wife and mum Daize swims deeply and naturally in the pristine ocean, the birthplace of our species.
The sequence sets in motion a grandly mounted, profound celebration of the family unit and the importance of the people and planet with which they share life’s path.
As the title suggests, the focal point of the narrative is Given, for whom the journey – 15 countries over 14 months – is tethered to his father’s own naturalistic upbringing and a mystical quest for ‘The Big Fish’, a symbol of fulfilment and goal attainment for the family. While the occasional use of ‘movie magic’ undoubtedly helped create the angelic wonder with which he and his newborn sister True embrace the patience-testing nature of global travel, Given proves an engaging screen presence, for whom the wonders of the world hold infinite awe. His wise observations, often dreamlike in their interpretation of his journey’s arc, are mature beyond his years; the measured tone and philosophical musings feel very much of the filmmaker’s doing, but prove tonally appropriate and in line with the heightened reality of Devin Whetstone’s exquisite camerawork.
Bianchi embraces the tried-and-tested surf doco formula of utilising minimal on-screen dialogue, instead letting the boy’s narration and the stunning images do the talking. Most affecting are direct-to-camera portraits of people from countries as far afield as Iceland, Israel, Thailand, Senegal and Peru, to name just a few of the destinations for the cast and crew. The eyes of the world staring into Bianchi’s lens reinforce that regardless of cultural trappings and vast distances, a soulful singularity exists between us all.
The breathtakingly immersive, free-flowing lensing and the central parent/child dynamic recall Terence Malick’s infinitely darker drama The Tree of Life, which also examined the legacy of patriarchal influence. While that work focussed on the transference of demons between generations, Given portrays a more enlightened, wondrously unified bond between father, son and Mother Earth. Bianchi’s capturing of a family’s reconnection with nature, both their own and on a planetary scale, provides a bracing refresher course on the goodness of humanity.