[CRITICAL] WIND RIVER

Writer now recognized (Comancheria and Sicario), Taylor Sheridan starts to turn in the realization.

WIND RIVER takes its title from the reserve self-titled located in Wyoning and which acts as a scenery main. In these snowy expanses, a body is found by Cory (Jeremy Renner , who does the job), a tracker, who will end up working with an FBI agent, Jane (Elizabeth Olsen, convincing). This environment, this is the main argument of the film. With these full desert, these storms of snow, these mountains, Sheridan has a unique atmosphere with which it is possible to provide a lot of situation exotic in a frame-tagged polar. Especially here, it is a native american reservation.On paper, it was tempting. Once on the screen, the result is much less exciting. Certainly the climatic conditions are exploited to the extent possible. On the other hand, as soon as it comes to incorporate elements related to indian folklore, the movie fails to build a mesmerizing ambiance. It takes more than music to the accents mystical and a mask of makeup to say that the culture scene has sufficiently weighed on the feature-length film. We grant willingly that the first part, infuses a sub-text of the policy as to the situation of the indians but put everything in the closet quickly for the benefit of a survey not of the most exciting, at the end sloppy. Rid yourself quickly of exotic elements, WIND RIVER became embroiled in a plot of polar mysterious but lame, where Jeremy Renner’s balance of phrases sentencieuse on the meaning of life. This is the only way in was by the film to distill a reflection enough barns on the human nature. The first seconds are evocative, with this band of wolves circling a herd of sheep. For the finesse, it will require ironing.

“WIND RIVER is disappointing, being ever at the height of its frame narrative, or its sub-text. “

Not served by a staging of top-flight (plans to subjective to mean the destabilisation verging on the grotesque in the context of an action scene fairly well carried out), the film decreases in interest as the minutes advance, the remaining cooped up in a classic fade. Showing a similar pattern to that of Sicario where an inspector must investigate in an environment that she does not know, WIND RIVER is not helped by the lack of ambition in formal of the new director. Enough plan, his work does not breed in any case his plot. Then Sicario came to construct a mythology inherent in the world of cartels and, above all, created an atmosphere of tense, where the evil was lurking everywhere (refer to the scene in the maze sub-field to be convinced). Alas, a good writer does not a good director. Sheridan had hitherto had the chance to see director-sharpened take in hand his stories, bringing a real added value. And even if one does not remove his good faith and his sincerity (we understand that he wants to join a pan of cinema classic american), Taylor Sheridan may be a little limited for this role. We will wait for the result to confirm. Or disprove.

Review published may 23, 2017 at the screening at the Cannes film Festival

Maxime Bedini