This isn't the land of waiting for back up. This is the land of you're on your own." What Wind River does right is introduce its audience to this harsh, consistently wintry landscape and describe its danger and sometimes unwelcoming image. In my opinion, the mountains capped in snow is a picturesque sight, but the way Taylor Sheridan paints it is bland, desolate and is some cases quite hostile. The inter-changeable weather for one thing tells a complicated story. But, more than everything else, the story is the element that really darkens the atmospheres, and where the movie finds its success.
The plot reminds me a lot of Fargo, but there's a distinct lack of black comedy in this adventure. The seriousness is absolute from the first emotional scene as a teenage girl helplessly moves her way through a snowy field after an unknown horrific ordeal. The ominous music and the mysterious camera pans set the scene for a very bleak tone. Cory Lambert's back story is used as an emotional background and motif for his determination to find Natalie's killer. This may seem like an old trope, but in truth it provides motivation for Cory and gives us a chance to gain his perspective of proceedings, whereby he's almost reliving the dreadful discovery of his daughter, Emily. Whilst Jane Banner may not be given much exposition, her role in the movie is key to making ground in the investigation and she is effectively the exterior perspective of this hostile landscape, looking in as we are at why some of the local population can live there, but others find it drives them insane. Indeed, the theme of belonging ran deep in the symbolism of this movie. Those innocent affected in this attack are of Native American origin and whose traditions and beliefs almost ostracise them permanently from the wider society and population of Humanity. Despite Cory's cordial relationship with Martin and Annie, who've now lost their daughter, they originate from separate backgrounds. But, simultaneously, they can respect each other's perspectives without problem. This film, perhaps more than anything, attempts to teach us how to co-exist in the humdrum, eclectic world of diversity. That is certainly evident in its final, poignant message at the end of the final scene as Cory and Martin console each other for their loss. As I mentioned, Sheridan brings everything into play using an imaginative vision and employs beautiful scenery to balance the violence and death. Watching Cory drive around on his skidoo was surprisingly exhilarating. That close relationship with nature also helped to identify the main theme of belonging. But, the big scene is the final confrontation between law enforcement and the drill workers who were involved in both Natalie and Matt's murders. The scene is incredibly tense and proves that there's still a chance to surprise in these crime thrillers. Also, the poetic justice of the denouement as Cory gives Pete one final chance at survival, by giving him the same chance as Natalie before she suffered a pulmonary haemorrhage. It's testament to the writing and directing cooperation that ensured that the movie felt complete, but was not at all rushed. On the acting front, Jeremy Renner could definitely be in the running for an Oscar, as the emotionally-damaged father and hunter who sought justice in the cruel world. The scene where he explains his daughter's absence is evidence enough of his talent. Elizabeth Olsen was surprisingly strong in her performance as well, perhaps more the butt of the joke sometimes rather than one of the main characters. However, she took charge of the trailer-search scene with ease and convincing authority. In the supporting cast, Gil Birmingham certainly deserves acclaim for his emotional and visceral performance. Overall, Wind River doesn't shy away from the violence of its subjects, and some scene may be incredibly, psychologically, affective. There's no doubt the time and care gone into its production though, and the setting is most-definitely awe-inducing. Accompanied by all-round strong performances, the story plays along fluidly and the script offers some philosophical questions along the way. It may not be Dunkirk, but this has all the makings of being a stubborn classic, and a worthy contender for one of the best of 2017. 8/10
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