Release: Friday, August 18, 2017
👀 Theater
Written by: Taylor Sheridan
Directed by: Taylor Sheridan
Starring: Jeremy Renner; Elizabeth Olsen; Gil Birmingham; Jon Bernthal; Graham Greene
Distributor: The Weinstein Company
****/*****
Wind River is a haunting little crime thriller that creeps into your soul and nestles there. It’s brought to you by the writer of Sicario and last year’s Oscar-nominated Hell or High Water, which may tell you everything you need to know about this movie, based on true events about a tracker working for the U.S. Fish and Wildlife Services who teams up with a rookie FBI agent to investigate the strange circumstances surrounding the death of a young Native American woman.
The journeyman actor-turned-screenwriter trades the scorching temperatures of the southern U.S. for the bitter chill of wintry Wyoming. Tumbleweeds for evergreens; cowboy hats for furry down jackets. The harsh terrain changes but Sheridan, who has proven his worth in a very limited amount of time, fortunately does not. He remains committed to the same gritty, humanistic perspective that has helped identify him as among the most powerful emergent voices in Hollywood.
As we have come to be spoiled by the writer-director, certain things are givens: impeccable acting, complex morality, sympathetic tonality. Wind River operates most apparently as a straightforward police procedural but that’s just the part of the iceberg that’s visible. What the screenplay hides beneath the surface is where the film is at its most affecting, not just as a deeply nuanced exploration of personal grief but as damning evidence of the marginalization of Native Americans.
Wind River tells a story about fictional people; however, as a title card at the end of the film suggests, this could be the story of any one of the thousands, possibly hundreds of thousands of women who have disappeared from Indian reservations across the country. As of today, it is not known how many Native American women go missing or what even becomes of them, as they remain the only demographic for which the U.S. Department of Justice does not compile that data.
While Kelsey Asbille as the victim — a teenaged resident named Natalie — provides a face to these unknowns, Jeremy Renner proves once again to be a major comfort. He injects warmth into an environment characterized by precisely the opposite. His Cory Lambert has earned the trust and respect of many of the residents of Wind River, a plot of land in central-western Wyoming home to members of the Eastern Shoshone and Northern Arapaho tribes. Cory’s dedicated years to protecting them and their livestock from the predatory animals that roam this yawning expanse of pillowy hills and knife-edge ridges. Of course, he has done this at the expense of his own family, a familiar but still effective flaw of character that grafts perfectly with the film’s thematic explorations.
Cory’s commitment to the community deepens when FBI Special Agent Jane Banner (Elizabeth Olsen) shows up on the scene, determined to take control of what appears to her to be a sexual assault case. Her woeful unpreparedness for the conditions, though initially played off as broadly humorous, ultimately proves to be the first of many obstacles that will truly test her resolve. Gender dynamics come into play as Banner has something to prove as an outsider in this world. Olsen plays her hand perfectly, her sizable ego soon humbled by taking bullets in subzero temperatures and by listening to the stories of the people who call this frozen hell home.
Renner is reliable and Olsen makes for interesting company, but you cannot overlook Gil Birmingham, who re-teams with Sheridan after playing the butt of every Jeff Bridges joke in Hell or High Water. That’s in stark contrast to his brief but dramatically hefty role here, in which he portrays the victim’s father as a man consumed by grief. An early scene in which Banner is cringingly unaware of her aggressive style confesses to the delicate nature of her assignment. It’s a traumatic moment, with Birmingham’s not-so-quiet sobbing memorably given privacy by remaining just out of shot.
The locals call Wind River the “land of you’re on your own.” That’s a harsh lesson for Banner to have to take back with her to Las Vegas, but for everyone else it’s just a fact of life. As a boy who grew up on a ranch before his family lost it to the economic downturn of the 1990s, Sheridan has a pretty firm grasp on man’s relationship with mother nature and how tenuous a relationship it is. That manifests powerfully here as well, but Wind River evolves into something much more personal and even profound than a tale of survival. That old Darwinian theory is a byproduct of the story, but it’s not the story.
Wind River is about being found, being recognized. Being heard. And the heavy sigh in which the film ends echoes back decades of silence.
Moral of the Story: Taylor Sheridan rewards viewers once again with an absorbing, emotionally stirring and deeply disturbing crime drama based on real events. Both a tribute to the untold number of victims as well as a culture that has had indignity upon indignity heaped upon it since the appearance of Anglo-American settlers, Wind River feels especially timely if you take into consideration recent headlines.
Rated: R
Running Time: 107 mins.
Quoted: “Take the pain. Take the pain, Martin. It’s the only way to keep her with you.”
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Photo credits: http://www.impawards.com; http://www.imdb.com
Recommendation: 
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Recommendation: Quite possibly the biggest film of the summer, Gareth Edwards’ hotly debated second film understands how important it is as it handles the challenge of redesigning the beast on his 60th birthday with aplomb, with room to give plenty of attention to its A-list cast. While some characters are definitely better than others, there’s enough here to keep even the most casual attendee engaged in this global crisis. A movie that would never escape criticism, but considering the alternative (let’s never mention Dr. Nico Tattoo-lotsa-lips. . .or whatever his name was from the Emmerich version. . .) it has done alright for itself.
Thomas J 