agreed but wanted to have sex with her first. She tried to fight him off and bit him in the process, which enraged him enough to beat her to death. As Ricko finishes his confession, the police arrive, and he realises that Jared has turned him in. He attempts to escape, but the police give chase and corner him on a cliff. Rather than go to jail and ignoring Jared's screams of protest, he jumps to his death. In the weeks that follow, Jared's life collapses. Despite learning of Diane's illness, he moves out of her house and chooses instead to be homeless. Jared returns home one day to collect his belongings; after arguing with Diane, he confesses that he witnessed Tracy's rape and could have saved her life if he had intervened or helped her afterwards. Later that day, Jared joins Diane and Cherie in cleaning graffiti from Tracy's grave. Cast Laurence Breuls as Jared Kirby Simon Lyndon as Brett "Ricko" Ricketson Linda Cropper as Diane Kirby Jessica Napier as Rachel Ackland Rebecca Smart as Cherie Milenko Bojana Novakovic as Tracy Warner (as Boyana Novakovich) Leeanna Walsman as Shana Nichole Stewart as Leanne (as Nichole Avramidis) Justine Clarke as Tiffany Heath Ledger as Toby Ackland Cameron Nugent as Jason Brendan Donoghue as Dave Jade Gatt as Scottie George Basha as Kemel Shayne Francis as Glenys Milenko Jeanette Cronin as Lesley Warner David Field as Ken Warner Geoff Morrell as Stewart Ackland Julie Haseler as Marian Ackland Chris Haywood as Det. Sgt. Wilansky Essie Davis as Det. Gilhooley John Howard as Len Kirby Themes Writing in the journal Antipodes, academics Felicity Holland and Jane O'Sullivan credit the film with exploring the themes of Australian masculinity, mateship, violence and sexuality. The film's portrayal of a rape and murder at a teenage party suggests that serious crime can arise from drinking and fun simply getting out of hand. The violence, they say, erupts from extreme larikkinism rather than the archetypal psychopathy seen in other films featuring violence towards women. The film's critique of criminal masculinity undermines the status of previously celebrated masculine lawbreakers in Australian history and cinema, such as Ned Kelly and Mick Dundee. The authors believe that the focus on masculinity leaves the female victim largely out of the film; they consider the "near erasure" of Tracy to be a troubling aspect; the film instead focuses on portraying the males