This article reads Richard J. Frankland's Stone Bros. (2009) as a critique of romanticized
notions of primitive Aboriginal spirituality. Through the unlikely arena of
popular cinema, this irreverent stoner comedy draws viewer attention to the persistence
of notions of repressive authenticity, with particular reference to elements of
Aboriginal spirituality. I examine the film's parodic treatment of two central motifs:
the 'important' stones belonging to the two main characters - Aboriginal cousins
Eddie (Luke Carroll) and Charlie (Leon Burchill) - and Eddie's light skin colour.
Stone Bros. insists that anachronistic ideals of Aboriginality continue to hold
currency for both indigenous and non-indigenous people in contemporary Australia.
In raising potentially uncomfortable issues for black and white Australians through
popular cinema Stone Bros. draws to viewers' attention the potentially negative
impacts of misplaced romanticisms on the nation's reconciliation process.