The three girls are representatives of the real women they play, but they also symbolise the thousands upon thousands of children cruelly removed from their homes. Rabbit-Proof Fence’s importance, then, is as much political as artistic. As Larissa Behrendt notes (in her book on the film), “this is the film that took the story of the stolen generations to the world.” Australia had only abandoned its relocation program some three decades earlier, and despite the release of the Bringing them home report, the government at the time – led by John Howard – evinced no interest in apologising to Australia’s indigenous population. This approach is somewhat explained by the film’s political agenda. Margaret Pomeranz, while describing Rabbit-Proof Fence as a “very good film”, noted that it “look at the children, rather than ever getting to know them.” Matthew Dillon’s Metro review makes a similar observation, noting that “we’re a little detached from the main characters”. The girls escape from Moore River and make the arduous – and long, stretching over nine weeks – journey home to Jigalong and their families, all along following the titular rabbit-proof fence.

Neville (Kenneth Branagh) as a solution to “the problem of half-caste” – children with Aboriginal and white heritage. Their abduction is justified by “Chief Protector of Aborigines” A.O. The film tells the true story of three Aboriginal girls (as recorded in Doris Pilkington’s Follow the Rabbit-proof Fence) – Molly Craig, her sister Daisy, and her cousin Gracie (played by Everlyn Sampi, Tianna Sansbury and Laura Monaghan in the film) – who are taken from their family in 1931 and sent to Moore River Native Settlement.

Follow rabbit proof fence