Wind River - movie review - "The whispers of snow"

Hard and sensitive at the same time, Wind River is one of those visceral films that speaks volumes about America from yesterday to today.

These days, hard to find a more talented screenwriter than Taylor Sheridan. He is responsible for Sicario's scenarios and especially for Hell or High Water, one of the most interesting American films of 2016. Here he concludes his trilogy on the borders and great spaces of his country with Wind River, Has also staged.

Based on a more or less original scenario - an investigation is carried out to shed light on the unexplained murder of a teenager on an Indian reserve - which remains highly effective, although somewhat predictable, the former comedian refines his themes predilection. There is a right to a new radiography of the United States, its latent violence that comes up against wild nature, as much as humans, beasts and elements. Poverty, corruption and disillusionment form a Molotov cocktail ready to explode every moment. When one adds to all this a reflection on the control of the man on the woman and of the White on the rest (it is not the snow that seems to engulf everything in its passage?), Impossible not to make Links with the news. Especially when we mention all these disappearances of aboriginal women who appear to be in total silence.

Without being always subtle (metaphors on the hunter, the wolves and their prey), the story goes much further than all the Frozen River, Iqaluit and other Mercy. It is a beautifully photographed polar that migrates into an existential western. The slow and melancholic rhythm is often closer to the psychological drama than to the suspense, which does not prevent the tension from being created and imploded during raw clashes, in the tradition of the US feature films of the 70s. Sheridan is horribly worthy of his second achievement (awarded at Cannes in the Un Certain Regard category), although his greatest talent is his pen, verbose but incisive, which sometimes reaches the summit of the summits when it is Transported by the disturbing melodies of Nick Cave and Warren Ellis.

Capable of the best and the worst, Jeremy Renner finds one of his finest career roles as a tracker damaged by the existence that seeks to make peace with his past. The actor is intense and very calm, letting his eyes lead the discussion. The same can not be said of his Avengers colleague, Elizabeth Olsen. This interpreter who had marked the moviegoers with the excellent Martha Marcy May Marlene in 2011 proved over the years that she is only a flash in the pan (her recent and disappointing Ingrid Goes West does not change anything) and her lack Of credibility is blatantly an FBI agent.

Hard and sensitive at the same time, Wind River is one of those visceral films that speaks volumes about America from yesterday to today. Without reaching the technical virtuosity of a Detroit, it is a long-drawn-out effort that is likely to have a long time in mind and that moves terribly in its final stretch.

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