{"id":2409,"date":"2018-01-12T15:53:55","date_gmt":"2018-01-12T14:53:55","guid":{"rendered":"https:\/\/www.senses.se\/en\/review-wind-river\/"},"modified":"2025-05-11T00:52:46","modified_gmt":"2025-05-10T22:52:46","slug":"review-wind-river","status":"publish","type":"post","link":"https:\/\/www.senses.se\/en\/review-wind-river\/","title":{"rendered":"Review: Wind River"},"content":{"rendered":"

Sk\u00e5despelaren Taylor Sheridan<\/strong> views Wind River<\/strong> as the concluding chapter in an unofficial trilogy exploring authentic American landscapes and narratives. The preceding installments are Sicario<\/strong> and Hell or High Water<\/strong>. In this project, Sheridan not only penned the screenplay but also assumed the role of director.<\/p>\n Clear signs indicating a tragic event.\n

Cory Lambert (Jeremy Renner)<\/strong>, a skilled tracker and hunter, resides on the Wind River Native American Reservation in the northern United States. While tracking a mountain lion responsible for livestock depredation, he discovers the body of a young woman who has succumbed to the elements. FBI agent Jane Banner (Elizabeth Olsen)<\/strong>, though relatively inexperienced, is dispatched to investigate. Partnering with Lambert, they begin to piece together the circumstances surrounding the victim’s death, uncovering a brutal reality far exceeding their initial expectations.<\/p>\n

The visual presentation of Wind River<\/em> is striking, characterized by sweeping mountain vistas, snow-covered landscapes, and the pervasive sense of cold. The film effectively conveys the harsh realities faced by the US indigenous population. Statistics cited reveal an average life expectancy of 49 years and an unemployment rate exceeding 80 percent, compounded by issues of drug abuse, violence, and widespread hardship. Sheridan masterfully uses these elements to build the film’s context. While inspired by actual events, the narrative is a composite, drawing from the prevalence of similar crimes rather than depicting a single, specific case.<\/p>\n One of the film’s most compelling scenes.\n

My initial exposure to Jeremy Renner was in Kathryn Bigelow’s<\/strong> Hurt Locker<\/strong>, followed by his appearance in Thor<\/strong>, after which he became an actor I followed with interest. While his performances have generally been adequate, they rarely stood out significantly. Despite possessing a certain charm and self-awareness (his humorous take on his character in Avengers: Age of Ultron<\/strong> is noteworthy), his presence often felt somewhat unremarkable. However, his portrayal in Wind River<\/em> demonstrates his considerable range, conveying the character’s complexities with remarkable subtlety and eliciting genuine empathy. His actions feel authentic and grounded in his character’s established background.<\/p>\n

Elizabeth Olsen, the younger sister of Full House<\/strong> stars Mary-Kate and Ashley Olsen, has experienced a rapid ascent in her career, including a subsequent collaboration with Jeremy Renner in the upcoming Avengers: Infinity War<\/strong>. Previously, Olsen’s performances have not always resonated strongly, occasionally blending into the background. In Wind River<\/em>, she delivers a more impactful performance, although her portrayal of toughness occasionally feels somewhat contrived.<\/p>\n

Also noteworthy is Graham Greene,<\/strong> delivering his reliably strong performance, and Gil Birmingham,<\/strong> whose heartbreaking portrayal of the victim’s father is particularly memorable.<\/p>\n

There is another performance I would like to acknowledge, but doing so would reveal a significant plot twist. While this narrative device has been employed in other films, its execution here is particularly effective, a testament to astute editing and casting.<\/p>\n The pursuit of these predators initiates the unfolding events.\n

Potential drawbacks are minor but present. The inclusion of certain predictable tropes is somewhat distracting in an otherwise well-crafted film. Elizabeth Olsen’s character, while portrayed as competent, embodies the clich\u00e9 of the inexperienced outsider oblivious to basic environmental realities. The extended sequence where she is outfitted with appropriate winter clothing reinforces the tired “city-dweller-out-of-their-element” stereotype. Had she proactively requested warmer attire, the scene would have been more believable. Beyond this, the film is remarkably well-executed.<\/p>\n

An unfortunate and unavoidable aspect stems from the involvement of Harvey Weinstein<\/strong> as one of the film’s numerous producers. His name, while included in the end credits, has been removed from promotional materials. This association inevitably leaves a lingering negative impression, irrespective of the filmmakers’ intentions.<\/p>\n

I anticipate Taylor Sheridan’s<\/strong> contributions to Sicario 2<\/strong> with great interest and hope he returns to directing soon, given the exceptional quality of Wind River<\/em>.<\/p>\n