Sweet Milk Lake: Harvey Zielinski’s debut reimagines the Australian homecoming

Harvey Zielinski’s feature directorial debut, Sweet Milk Lake, is currently screening at the Melbourne International Film Festival, with a general Australian release scheduled to follow. The film deploys the familiar homecoming narrative, where a protagonist returns to their small hometown to reconcile with the past. However, it diverges from the genre’s typical tropes, such as those seen in The Dry or Beautiful Kate, by eschewing local resentment in favour of a warm welcome.

The story centres on Jake, a trans man played by Zielinski, who returns to his hometown to visit his terminally ill estranged father, Lee, portrayed by Kieran Darcy-Smith. The narrative hinges on a significant misunderstanding: Lee and the local community believe Jake is his twin brother, Sam. Zielinski portrays both roles, a dual performance that anchors the film’s exploration of identity.

Unlike other recent Australian dramas where the returning character faces festering local grievances, Jake is reintroduced to the rituals of small-town life, including fishing, barbecues, and community gatherings. This warm reception allows the film to focus on the internal dynamics of the family rather than external conflict. The mistaken identity serves as a vehicle to examine how well Lee truly knows his son, creating a contemplative space for understanding and compassion.

The film draws comparisons to the SBS series Homebodies, which used the trans experience to reinvigorate the ghost narrative. Similarly, Zielinski brings a fresh perspective to the well-trodden homecoming archetype. The digressions from formula feel like natural byproducts of different perspectives and lived experiences, rather than calculated moves to upend conventions. This approach highlights the ability of under-represented voices to bring new emotional shapes to familiar stories.

Supporting the lead, Hunter Page-Lochard plays Toby, a local gay man who forms a relationship with Jake. Their dynamic provides a lighter counterpoint to the film’s melancholic themes, with scenes of connection that are tender and truthful. Zielinski’s direction is noted for its understated nature, even during significant turning points, such as when Lee admits to having "took off" and regretted it, yet "ran out of time" to fix things.

The film resists didacticism, leaving certain questions unresolved, such as how Lee will react to the truth. This ambiguity mirrors the messiness of real life, with circumstances shifting and feelings remaining unresolved. Zielinski shapes this uncertainty into compelling, well-paced drama, offering a nuanced and rewarding cinematic experience that avoids telling the audience what to think or feel.