Movie of Taylor Sheridan 1 h 50 min 30 august 2017
With Jeremy Renner, Elizabeth Olsen, Jon Bernthal
Cory Lambert is a tracker on the Wind River Indian Reserve, lost in the wilderness of Wyoming. When he discovers the body of a woman in the wilderness, the FBI sends a young recruit to elucidate this murder. Strongly linked to the Amerindian community, he will help him conduct the investigation in this hostile environment, ravaged by violence and isolation, where the law of men fades against that pitiless nature
Thriller :
review :
in the western United States. Even celebration, even wild and dangerous nature that can not be domesticated. Wind River enjoys a background of rare power and classy sobriety, which, as a real impassive witness of the events related, is perceived as a character in its own right.
The expected thriller may not be there. This aspect of the film is indeed quite linear and classic in its denouement, without great rebound nor list of suspects more or less expected. No, Taylor Sheridan chooses to talk about something else by taking this frame as a simple vector. As Comancheria chose, through the nonchalant road movie, to deal with the economic plundering of the humblest and their sidelining from the American dream, Wind River speaks of these Indian reservations made of jail, bricks and pitcher, left to their own devices, abandoned after the massacre, exploitation and enslavement. For them too, as in the desert west, the possibility of escaping will ultimately be a chimera, a lure, so much the ravages of occidentalism, now taking the face of the exploitation of the wells of drilling, are still felt, generation after generation.
Pain and suffering as an inheritance.
As if he were a hunter, impassive, resigned, falsely detached, who, by the discovery of this body in his snow coffin, revived his own guilt, his own pain, his own interrogations without answers. Jeremy Renner will undoubtedly embrace her most beautiful character, in perfect counterpoint to the ever-beautiful Elizabeth Olsen, who makes her young people believe her idealism and her clumsy will to help, that there are still people for whom the excluded and the victims matter a little. It will represent the disturbing element in trying to penetrate this self-contained community, literally maintained in a state of dependence, abused as in the time of conquest.
Wind River is, on this theme, a perfect pendant at the Comancheria that Taylor Sheridan had also written, so much the staged words resonate and respond. The film will also resume, this time of the unforgettable Sicario, this dry violence, although rare here, which takes literally by surprise by its irruption, after a rise in tension diable well conducted and formidable. However, Wind River does not look like anything else when it comes to installing a disillusioned atmosphere despite the beauty of its scenery. Because of this reserve, no one seems to be able to escape, as victim of a black evil.
Despite some notes of hope, the smiles will not tear. The condemnation of nature, in the form of final straight from a western, will be without appeal. But it will not at any moment relieve suffering, loss, or absence. Only the snow, which, like time, will gradually cover the footsteps and the shed blood which have soiled it, on the side of assembly, in the silence of the night.
Snow and silence is all they have not taken
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