Wind River 30.09.17
Yes, finally. Wind River is a film that combines suspense with art, to the backdrop of a bleak winter whiteness; a girl's death is captured and a story enfolds.
There are so many reasons to watch this film. The Nick-Cave co-written soundtrack blends into the hostile, pristine scenery where native Americans battle their demons and generational despair. The two leads complement each other through backstory and situation: Elizabeth Olsen is the likeable FBI agent out of her comfort zone, Jeremy Renner the hunter and tracker of wolves and pumas, who brings his skills and insights to bear as they investigate the murder together. The narrative, too, ensures just enough mystery, from the striking opening of a barely-dressed girl running barefoot through the snowy wilderness. A final-quarter flashback then reveals to the audience the danger Olsen's character is in. The ending, when it comes, fits the poetic symmetry of different parts that run through this movie, with a mood that's enhanced by memorable dialogue, not least when Olsen's agent mentions bringing in backup, and is told bluntly they're in a part of the world where there is no backup.
Briefly, here's my own fourth-quarter flashback: I think of past films reviewed, the pretension of Mother!, the ineffective meh of Stephen King's It, and the threadbare 'is that it?' story and characterisation in The Limehouse Golem.
It is always the toughest assignment to write a review about a film that affects me. This one is no exception, I recommend it but won't praise it any more, though I'd like to close with one final reflection, that Elizabeth Olsen is one of the most charismatic – and enigmatic – actors in Hollywood today and I can't wait for her next work of art.