It felt inevitable that the story of Australian Peter Greste would be made into a movie.  For those new to the tale, Greste was an Al Jazeera journalist accused by the Egyptian government of associating with terrorists.  He was imprisoned between December 2013 and February 2015 and his plight became international news as an attack on journalistic freedom.

It’d be easy to turn this into a simplistic good versus evil story, but screenwriter Peter Duncan (Rake) and director Kriv Stenders (Red Dog) find plenty of “greyness” to explore.  For starters, the film seamlessly uses flashbacks to cover another important story – one involving Greste and a British colleague, Kate Peyton, who were covering the upheaval in Somalia in 2005.  It highlights the fine line journalists walk when balancing the importance of their work versus their own personal safety.  Greste doesn’t come off smelling like roses.

In the terms of the main 2014 narrative, the filmmakers do a skilful job highlighting the farcical nature of Greste’s court case but also the moral questions he faced in seeking freedom.  Other Al Jazeera journalists had also been jailed and there was debate amongst them in prison, sometimes heated, about tactics and legal avenues.  Should they semi-confess to get a light prison sentence and allow the Egyptian government to save face?  Should they stick together in their fight for freedom or does an element of self-interest take priority?

Stenders deserves praise for the quality of the film’s production.  Richard Roxburgh (Moulin Rouge!) is terrific in the lead role and portrays Greste as a simple man who knows the importance of keeping his emotions in check.  So many of the supporting players leave an impression – from Michael Denkha as a hamstrung lawyer, to Rahel Romahn as a backgammon-loving colleague, to Majid Shokor as a politically motivated judge, through to Mojean Aria as a wise new friend.  They maximise every minute of screentime, and we see them as more than just one-dimensional characters.  Kudos to the casting.

The film moves at a brisk pace, and it doesn’t muck round with an unnecessary introduction to Greste.  The set decoration is credible, and it feels like it was shot inside a filthy Egyptian prison (note: it wasn’t).  The visuals also stand out.  A great example is the way cinematographer Geoffrey Hall (Chopper) shoots the tunnel walk to the courtroom and then showcases the viewpoint of Greste from behind his heavily enclosed cage.

Yes, we know how Greste’s story ends but it doesn’t make The Correspondent any less compelling and important.  The number of journalists imprisoned around the world is currently at record levels and it’s an issue that deserves continual attention.