Owen Teague (from «Bloodline» and «Confrontation») plays Cal, a young man who returns to his family home to take over the estate of his dying father, who is in a coma after a stroke. He is soon joined by his half-sister Erin (Ravenswood’s Hayley Lou Richardson), who has been estranged from her family for years following her rebellion against their father. Without revealing too much, suffice it to say that her father’s betrayal resonates with a tradition that permeates film noir and revisionist westerns and flows into the tradition of ancient Greek tragedy: the cruelty and regret that separated Erin from her family are directly related to her. to his father’s betrayal of legal, ethical, and moral codes, all of which adds up to a more skeptical view of American history than is taught in most public schools.
There is a long, thoughtful scene in which the siblings look at a gaping and completely meaningless hole in the ground that their father’s legal and business advice helped a mining corporation dig, and Erin teaches her brother about the circles of hell described in Dante. Inferno and connects them with the history of their family and state, which is superficially and evasively defined for schoolchildren mainly through the praise of his «big sky». But the filmmakers take care not to let the situations become too abstract, always linking them to the siblings, their family estate and the economy of the surrounding community, factors that also influence their housekeeper Valentina (Kimberly Guerrero), their father’s nurse, a Kenyan immigrant. nicknamed Ace (Gilbert Owuur) and their father’s increasingly decrepit horse, which Cal chose to have euthanized, but Erin decides to move to upstate New York instead. (Erin’s obsession with saving the horse is a history-rewriting redemptive move that is directly linked to her own trauma at the hands of her father.)
Perhaps it takes too much for viewers who are increasingly accustomed to only being big-budget fantasies based on intellectual property filled with Easter eggs and teasers to sit still for a nearly two-hour standalone tale of emotional and economic issues. rural Montana family, especially since the film is far from perfect and tends to err on the side of modesty and unpretentiousness (even breathtaking natural views are photographed prosaically). But there are many rewards to be found here, not the least of which is the ability to stage scenes with beginnings, middles, and ends that depend entirely on the subtle interactions of multiple actors who live or die based on words. they were given to speak, and the silence in which they were encouraged to live.
Now he plays in theaters.