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Taylor Sheridan’s films are set in a mythical version of the American West that doesn’t exist anymore, if it ever did exist in the first place. A place where there are no rules other than the ones that people make up for themselves in order to survive—stretches of Texas and New Mexico that are both brutal and beautiful in equal measure.
“Sicario,” directed by Denis Villeneuve, and “Hell or High Water,” directed by David Mackenzie, were two films in which Sheridan had previously ventured into this territory. The latter, directed by David Mackenzie, earned him an Academy Award nomination for Best Original Screenplay. As a director and writer, he’s working on his third feature film, “Wind River,” which feels very much in keeping with his previous two films while also distinguishing itself by capturing a strong sense of place.
There are vast, scrubby expanses that give way to pristine blankets of white in “Wind River,” with only a single snowmobile path cutting through them to break up the monotony. You can hear the crunch of snow on the ground and feel the bitter chill, which can be deadly if it runs deep enough. When Sheridan introduces us to a new environment, we immediately recognize it; his storytelling is meaty but efficient, and his pacing keeps us engaged until the final explosion of violence, which is both shocking and engrossing.
“Wind River” is a melancholy procedural that is heavy on symbolism from the get-go—perhaps a little too much so. While Jeremy Renner’s Cory Lambert is lying on his belly in the snow, camouflaging himself with his rifle and hunting wolves that have been preying on sheep when we first meet him, he is a seasoned tracker who knows his way around Wyoming’s backcountry. While he is a protector as a matter of professional necessity, as we learn throughout the course of the film, that calling has become deeply personal for him.
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There is a distinctness to the way the characters speak, a poetry that can be quite moving or quite jarring on the ear depending on the situation. Nonetheless, Sheridan’s script can be just as powerful in its quieter moments, such as these, when the characters aren’t saying anything to one another.
One of Cory’s hunting expeditions results in the discovery of the frozen body of a young woman; we’d seen her at the beginning of the film, frantically running barefoot in the middle of the night under a crisp, full moon, when he first encountered her. He recognizes her as Natalie (Kelsey Asbille), the best friend of his teenage daughter, who had also died mysteriously a few years earlier. Natalie (Kelsey Asbille) was also the best friend of his teenage daughter.
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Because Natalie’s death occurred on the Wind River reservation, and because Natalie, like Cory’s daughter, was Native American, the tribal police are called in to assist with the investigation, which is led by the legendary Graham Greene in the role of the dryly humorous, no-nonsense chief. However, the federal government, in the person of new FBI agent Jane Banner, has an interest as well (Elizabeth Olsen). She’s been sent from the Las Vegas office, and she’s so unprepared for this place and this weather that she has to borrow snow gear—from Cory’s late daughter’s closet, which only adds to the general sense of melancholy that pervades the atmosphere.
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During an explanation of life on the reservation, he tells her that “this isn’t your average backup plan.” “You’re on your own here in this land,” says the narrator.
In order to solve the mystery of what happened to Natalie in this remote and secretive land, Cory must confront the reality of what happened to his own child while working with Jane. A team of artists, including cinematographer Ben Richardson, whose previous work includes the ravishing and dreamlike “Beasts of the Southern Wild,” worked together to create the richly atmospheric visuals.
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With skill, Sheridan handles the relationship between Jane and Cory: they are equals, but they also rely on and learn from one another. And, despite the fact that Renner and Olsen are fellow Avengers who have a natural, understated chemistry, Sheridan mercifully refrains from bringing their characters together in an awkward, unnecessary romance.
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Renner also has several emotionally charged scenes with Gil Birmingham, who portrays Natalie’s grieving father, Martin. Birmingham previously appeared in “Hell or High Water” in a supporting role. I find it heartbreaking to watch his proud exterior crumble in front of my eyes. He exudes a certain masculine stoicism and bitter swagger until he doesn’t.
He has his characters express themselves a little too clearly at times, and this is especially true of their exchanges with Cory and Martin, which are frequently a little too direct. Although it’s difficult not to be moved by the words, which are so beautiful and come from such a place of deep truth that it’s difficult not to be, and they contribute to the song’s simultaneous sense of timelessness and immediacy.
For more personality quizzes check this: The Foreigner Quiz.