I like the storyline of this show,it attract me so much

Admirable film.

It's complicated... I really like the directing, acting and writing but, there are issues with the way it's shot that I just can't deny. As much as I love the storytelling and the fantastic performance but, there are also certain scenes that didn't need to exist.

It's entirely possible that sending the audience out feeling lousy was intentional

Australian couple Fiona (Radha Mitchell) and Ben Simmons (Joel Edgerton) arrive in Calcutta to adopt and pick up Indian orphan Lakshmi. Fiona is frustrated by the waiting and the bureaucracy. Ben is a laid back musician who reconnects with Scarlett (Isabel Lucas). The couple fights about their different view points and the adoption. They decide to go find Lakshmi at the orphanage while they immerse themselves in the spirituality of India.The couple starts out as being unappealing and they never recover from that. She's a Type A, entitled westerner. He's uncaring and almost cold to her. The movie confronts that idea quickly. Ben is so clueless to her anxiety that it really frustrated me. The only thing saving Fiona is that she is obviously going to find enlightenment and salvation in the end. I don't like this couple and I stop caring about them.

At first I was dubious about watching this movie, the trailer made it seem worthwhile but there was a lingering fear that the film would be just another add up of clichés as I have often seen in recent Australian films (not to name any specifically).After the first ten minutes I knew I was going to be transported. I sat back, ready to begin this journey with an open mind. What ensued was a truly original and profound exploration of human relationships in a foreign land and culture; both the conflicting expectations and quite naturally, the disappointments and disillusionments that follow.In "The Waiting City", these themes are explored carefully with the depth and maturity they deserve. In the end, there are no answers provided to questions asked on the spiritual, or the morally right. The two main character grow, as does the audience, thanks to the amazing performances of Radha Mitchell and Joel Edgerton. Radha Mitchell was absolutely captivating as Fiona Simmons, a young lawyer who carries the many flaws of her husband and their suffering relationship upon herself. Joel Edgerton naturally embodies all the warmth and enthusiasm of Ben Simmons, a musician / song writer who is still unsure of what he wants to do with his life, submitting himself to his wife's tendency to control and be the "adult". As both lose control in a land where nothing seems to work or go according to plan. Ben rises and grasps opportunities to prove himself, Fiona in her turn learns to accept and let go.Both are waiting to bring their adopted daughter home... both will learn to open their minds and find solace in ways they never expected.One of the best movies I have seen world wide this year! An absolute must see!As someone who was raised in different countries my whole life, I must say that this was a truly original and fair perspective from writer director Claire McCarthy on the experience of traveling and being transformed, in turn, by the unpredictability of the many worlds within our world. I am eagerly waiting to see what's next!

Ben Simmons (Joel Edgerton) and his wife Fiona (Radha Mitchell) are a married Australian couple travelling together through India. It is revealed that they are looking to adopt a child there since Fiona cannot have children of her own. Yet they find that the process is a troublesome one, regularly delayed by the paperwork. They stay in a hotel room, assisted by an Indian man named Krishna who provides them with advice on locations and attractions. Fiona though is regularly devoted to her work with her firm back home and seems less interested by the colourful surroundings, which frustrates Ben. Where she is far more city orientated, he seems to have a greater sense of the locations and the people. Their different attitudes come into conflict, particularly when a Ben meets Scarlett (Isabel Lucas), a girl he used to work with when he was still making music. These issues put a strain on Ben's marriage as he and his wife wait in their room for the agency to contact them.This is the fourth film written and directed by Australian filmmaker Claire McCarthy and it's a picture that vividly photographs India as a vibrant and deeply mystical place. The film was shot on location in India, mostly in Calcutta, and there is a commendable degree of verisimilitude in the way that the streets have been chaotically filmed by McCarthy and her cinematographer Denson Baker. The lanes that Joel and Fiona explore are trampled by hundreds of people at a time. Some of these people are children running along the streets. Others are just working adults, like the merchants that regularly try to coax Ben and Fiona into buying goods. There are strange abnormalities too, suggestive of the sense of mythology that has been etched into the city, like when Fiona is disorientated and thinks she is seeing a woman with many arms, only for a child being carried on her back to be revealed. It is because of the authenticity of the film's visuals that a palpable atmosphere surrounds the India's lower classes here.There are less impressive elements relating to the script though. The pacing of the narrative stammers into its second hour too slowly, mainly because of the film's tendency to move in tangents. The subplot involving Isabel Lucas's character Scarlett is a primary example. It raises speculation about Joel's commitment to his wife and there are some weighty tensions between them but it feels unresolved because the character Scarlett moves in and out of the picture. The film also has a weak grasp on the ideas of spirituality. At one point Fiona admits that she can feel the spirit of her deceased mother in the city. But a potentially interesting idea is a rather transparent one because it isn't reflected on ever again. In another scene Fiona does not take part in a ritual and it might have been more interesting if the dialogue made reflections on this after the film's rather tragic climax. In spite of these deficiencies there are two solid and likable performances here through Edgerton and Mitchell. Their roles are constructed to the point where one has to question what they see in each other. It is again never touched on but at least the frustrations and the emotions shared between them ring true. Lucas's part seems to be underwritten and her character is a mild distraction to the story.The Waiting City is a minor Australian picture that is rich in its atmosphere and sense of culture. Yet it is also marred by a problematic screenplay and uneven pacing. It wades through the tangents of the first act, towards a second half where the characters fail to reflect on what has really transformed their lives. In such a deeply spiritual place the film never seems quite as profound as it should be because both the characters and the audience remain as outsiders. There are questions over the relationship too, but both leads at least make them likable tourists, who only just skim on the surface of India.

Diane and I watched this moving, intelligent and subtle film this afternoon in Fremantle and both of us had nearly the same feelings about what we had just seen. I believe Waiting City was one of the few, if not the only, film made completely out of Australia; the visuals of the city of Kolcata (Calcutta) are stunning and are a significant aspect of the movie that we saw. Without going into details of the script, I thought that an important part of the film was the subtle breaks in information given the viewer through the progression of the film; as viewers we are not fed every bit of information about the plot of the film. There are certain characters and certain incidents that either end with no reference to them any more in the script or certain characters that appear and then are gone with no further reference to them ever having been there in the first place. This is not to say that, at least for me, this aspect of the filming is disturbing or somehow negative, it is just curious and for me adds to the subtle mysteriousness of the film.India plays a central role in the film; its population and crowding are almost suffocating and the obvious run-down vision of the city where the action takes place is striking for someone living in a Western city where everything is quickly repaired as soon as paint fades or tiles crack.On the political side of the film, it can be no accident that the central drama of the movie revolves around the city of Bhopal where the world's worst industrial accident occurred in 1984 in a plant owned and operated by the American company Union Carbide. As the script develops, the viewer will see the logic of the inclusion of that tragic city in the film. There is not the slightest mention of what happened there in '84 but the chemical nature of that disaster leads inexorably to conclusions by the viewer.