John and his wife Emily, accompanied by their child Edward venture from the comfortable environs of suburbia to the village where the husband spent some of his childhood. There has been a death in the family and John must begin proceedings to take control of an old ramshackle cottage, situated by the seaside and once inhabited by an old man who has apparently committed suicide.<br /><br />Sceptical about the circumstances of the death, John divorces himself from his family and from reality, puts his own life in peril, and puts on the clothes of the old man who is now dead.<br /><br />The film now changes - nothing is what it seems - the people of his past appear, in full Gothic/hillbilly glory - his wife worries about his mental state - and his son disappears into the reeds.<br /><br />John finds that the old man didn't commit suicide, that his death is far more mysterious and strange. In a spine chilling finale, we learn that the events of the film actually never happened and that the entire narrative was imagined by the little boy, Edward, who is struggling to come to terms with his parents' divorce proceedings.<br /><br />Modern Love is a macabre piece of high art cinema, a puzzling and perverse piece of pretentiousness, full of vague suggestion and unexplored red-herrings. It is humourless and seemingly unconcerned with current Indie trends which both validates its creators, but also renders it passé.<br /><br />But the weaknesses of this Australian film are fully outweighed by its sheer muscular cinematic vision, its bloody-minded and uncompromising precision and its oddball Euro horror. The bastardry of script norms and lack of slick dialogue pales into insignificance against a backdrop of noir and a lead performance that needs to be seen to be appreciated.<br /><br />One of the most aggressively weird Australian films in years.