Phoebe Hart, Queensland University of Technology
Stan’s new Christmas film Nugget is Dead is a colourful production that follows the rules of the seasonal genre film to a tee – with an Aussie twist and a dash of queer multiculturalism thrown in for good measure.
Most screenwriters refer to the Hallmark Channel as the generic yardstick of Christmas films. The US cable network pumps out dozens of tinsel-tinged offerings each year.
But what exactly are the rules of a Christmas movie? And how does Nugget is Dead fit in with the rest?
A cast stuffed with homegrown talent
Christmas movie screenwriting blogger and podcaster Caryn McCann has laid out the steps of the Christmas film formula, which can be applied to the case in point.
Step 1: choose a cute regional location situated a good distance from the big smoke. Christmas in Australia is, of course, in summer, so no snow-covered Midwest town for us. Instead, what better than an unnamed seaside location reminiscent of a less desirable version of Home and Away’s Summer Bay?
Step 2: find a key character who’s down on love. Enter struggling bisexual registrar Steph Stool (played by Vic Zerbst, who also cowrote the film). Steph’s swanky millennial boyfriend (Alec Snow) has it all, including a double-barrelled surname and an overbearing mum (Tara Morice) from Sydney’s North Shore. But their relationship is floundering at this crucial time of year.
Steph’s zany family, on the other hand, are on the more bogan end of the Australian social order. Notable mention goes to Steph’s OTT (over-the-top), recently separated parents, Jodie and John Stool (Gia Carides and Damien Garvey).
Meanwhile, cowriter Jenna Owen hurls herself into the fun role of ditzy eshay cousin Shayla, who probably gets the most laughs as a foil to Zerbst’s uptight Steph.
The film mostly plays out in the Stool brood’s hometown, but crosscuts to Steph’s boyfriend’s affluent family’s celebrations.
Comedy doubling as class commentary
When Steph is called back home to attend to her dying dog, the titular Nugget, she encounters Step 3: the love interest. In this case, the attractive distraction appears in the form of her poor pooch’s new vet, Ella Lander (Priscilla Doueihy), who quickly becomes enmeshed in the Stool way of life.
Steps 4 and 5 of the form involve the careful balancing of cheerful Christmas traditions alongside drama aplenty. True to form, Nugget is Dead has more than enough fruity pavlova, Christmas crackers and sizzling snags on the barbie
These elements serve as a vital backdrops to several hectic – and silly – family barneys. I tip my festive headwear to emerging director Imogen McCluskey and director of photography Kate Cornish for capably managing dialogue-heavy scenes that include a large ensemble cast.
The humour in these sections comes from mix of comedic voices, as well as by contrasting ocker ‘realness’ (and groan-worthy dad jokes) with urban upper-middle-class vapidity.
Out with the old
The final steps of the Christmas movie formula come down to the hero, heroine or non-binary protagonist embracing the true spirit of the holiday season – and restoring his, her or their reliance on romance and family values. On this front, Nugget is Dead does not deviate.
The film has an endearing core message about being accepting of poeple’s differences, which helps to extend it away from the genre’s norm.
In an Australian context, the film dabbles in the dreaded cultural cringe. I wasn’t sure if this was a deliberate wink to those in the know, or the result of trying to write for a wider audience and becoming a bit reductive in the process.
Nugget is Dead demonstrates the many ways in which our Christmas customs are becoming less white-bread and heteronormative.
Nugget is Dead is streaming on Stan.
Phoebe Hart, Associate Professor, Film Screen & Animation, Queensland University of Technology
This article is republished from The Conversation under a Creative Commons license. Read the original article.
