Some films hook audiences with spectacular action or elaborate twists. Others succeed simply by introducing characters you genuinely enjoy spending time with. La La Falls, the second feature from Australian filmmaker Alan King, firmly belongs in the latter camp. An offbeat blend of dark comedy, crime thriller and heartfelt character drama, the film takes an increasingly absurd premise and grounds it through wonderfully natural performances, sharp dialogue and an endearing friendship that sits at the heart of everything.
Running for eighty-six minutes, the film immediately grabs attention with an opening that’s as intriguing as it is unexpected. Presented in striking black and white, we first see a blood-stained rock where the only splash of colour is the crimson blood itself. A title card announces Part One: Living Peacefully Off the Land, before introducing Vincent (Alan King) and Gunther (Bill Evans), two men digging holes in the Australian bush while casually discussing whether gold may have originally arrived on Earth aboard an asteroid. It’s an amusing conversation, made even funnier by what slowly comes into view behind them.
The pair aren’t prospecting for treasure at all. They’re digging graves, surrounded by several bloodied bodies dressed in business suits. Rather than reacting with panic or horror, Vincent and Gunther continue chatting about everyday topics, including a recent round of golf where Gunther lost a ball in a nearby dam. Their complete indifference to the grisly scene surrounding them establishes the film’s wonderfully dry sense of humour almost immediately.
The story then jumps back six days to reveal how these two quiet men found themselves burying bodies in the first place.
Living a simple, largely isolated existence in the bush, Vincent and Gunther spend their days playing golf across uneven terrain, surrounded by trees and scrubland rather than manicured fairways. During one particularly unsuccessful shot, Gunther refuses to take the obvious penalty drop after his ball lands in the water. Instead, he attempts the impossible by playing directly from the dam. Rather than retrieving a golf ball, however, his club emerges draped in gold jewellery. Their unexpected discovery sets the entire story in motion.
Believing they’ve stumbled across incredible luck, the pair unknowingly place themselves in the path of dangerous criminals, all while Vincent faces a much more personal challenge. Concerned that his quiet friend has become too withdrawn from the outside world, Gunther decides to introduce him to his sister Vesna (Snjezana Hadzic) and her friend Olive (Jodi Saunders). Nervous about meeting new people, Vincent prepares for the evening wearing an immaculate tuxedo, a small but wonderfully awkward detail that perfectly captures both his innocence and social anxiety. It’s this human side of La La Falls that proves to be its greatest strength.
Although the story gradually develops into a crime caper involving missing jewellery, mobsters and mounting danger, Alan King’s screenplay never loses sight of the relationship between Vincent and Gunther. Their conversations frequently wander onto seemingly trivial subjects, whether discussing golf, conspiracy theories or everyday observations, yet every exchange feels authentic. Rather than existing simply to move the plot forward, the dialogue allows both men to feel like genuine people who have shared years of friendship.
That natural chemistry is helped enormously by the performances. Alan King gives Vincent a quiet vulnerability that makes him immediately likeable, while Bill Evans provides the perfect counterbalance as Gunther, whose optimistic outlook and unconventional way of thinking consistently generate some of the film’s funniest moments. Their friendship never feels manufactured for the screen. Instead, it has the relaxed rhythm of two people who have known each other for decades.
Visually, La La Falls makes an immediate impression through its black-and-white cinematography. While monochrome photography can sometimes feel like an unnecessary stylistic flourish, here it serves the film remarkably well. The Australian bush takes on a timeless quality, allowing the characters and performances to become the central focus rather than the scenery. It brings to mind films such as Nebraska, where black and white photography enhances both the understated humour and emotional sincerity.
The cinematography from Michael Schoell and Samadhi Schoell consistently complements King’s restrained direction, favouring carefully composed frames and patient pacing over flashy camera work. The result is a film that feels remarkably confident despite its modest budget.
One of the film’s greatest surprises is its tone. The premise sounds increasingly outrageous on paper, yet King never allows the performances to become exaggerated. The humour remains understated throughout, often emerging from uncomfortable silences, awkward pauses or the complete normality with which Vincent and Gunther respond to extraordinary situations. It creates a distinctive style of deadpan comedy that feels refreshingly original.
There is also genuine warmth running beneath the darker elements. Themes of isolation, friendship, redemption and human connection quietly emerge as the narrative progresses, giving the film an emotional depth that balances its more absurd moments. The supporting cast, particularly Snjezana Hadzic as Vesna, further strengthens this aspect by bringing additional warmth and humanity into Vincent’s sheltered world.
Considering La La Falls was produced on a micro-budget, filmed in under a week and features a largely first-time cast, the finished product is all the more impressive. Rather than exposing limitations, those constraints seem to have encouraged King to focus on what matters most: believable characters, engaging dialogue and a story driven by personality rather than spectacle.
If there’s one criticism to be made, it’s that the film occasionally feels like it ends just as you’re becoming completely invested in these characters. Spending more time alongside Vincent and Gunther would hardly have been a complaint. That’s ultimately a testament to how enjoyable their company proves to be over the course of the film.
With La La Falls, Alan King demonstrates a confident understanding of character-driven storytelling. The film effortlessly blends dark comedy, gentle drama and crime caper into something that feels uniquely its own, anchored by two wonderfully understated central performances and a screenplay filled with natural, often hilarious dialogue.
Australian independent cinema has found another distinctive voice in Alan King. If this charming, funny and quietly profound feature is any indication of what’s to come, audiences should be paying close attention to whatever he makes next. La La Falls is an unexpected delight and one of the year’s most memorable independent character pieces.
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