Many American cows legends – the way they speak, have been blocked, the silhouette they cut, the clothes they wear -, if not invented in bulk, by Hollywood. From the first shot to the end, the “east of the wall” expanded from Kate Becruptt our vision of those who often ignore women. In the traditions of “The Rider” from Chloé Zhao, this twenty -first century was inspired by the twenty -first century of real people: The writer and first director Berkovont convinced the Zimija family – most notably my mother Tabathta and her daughter, Porchia, the star of Tikhak, Rodeo Queen – to participate in an independent drama of Their private life, but all this rewrites this type as a result.
Berkoft derives the value of stunning, rich views without the amazing background of South Dakota, whether it is portable footage of magic and bullets without weight through the vast folds wavy of bad lands. But they are the difficult faces with the sun full of the sun from its largely non -professional crew, which gives the “East Wall” a sense of the raw experience, which distinguishes the BeeCroft project for years. The Helmer connects the group with the stars Jennifer Ehle and Scot McNary, who are convinced sufficiently like the grandmother that endures Monchon and the raising of Texas with a deep pocket, respectively. However, although you can teach an actor to paint, spitting tobacco and riding a horse, those shots from Porsche wander around the horizon faster than that the pickup truck for her mother can continue … well, there is no fake.
On its side there are magnetic mothers, with tattoos below the arms and long blond hair on one side, and she has three children on their own, but she welcomes those from broken homes to promote them and stay on a 3000 acre farm. “Rangelin” girls are more difficult than the “horses”, says this fierce lame, who gave up her passion after the death of her husband John. It blesses the ability to diagnose what the infected animal needs is shocked, as it is still dangerous horses, but it does not dare to return to the saddle, for fear that she will leave her infection and is unable to care for the human herd that depends on her.
Portia, which is sometimes Sulky and ungrateful firecrackers in others, resent her mother when John happened. By the Porsche account (whispering on quiet slices of the movie, a naive novel and a child in “Southern Wildlife monsters”, all the way to the sound effects with homogeneous Earth), John taught her to ride and was a better father that the children were biological. But there is something that the story realizes more than the teenager realizes. Late the movie, Tabatha gathered around the fire of a camp with her mother on the screen (EHLE, smokes and divides as she grew up in shoes), her real -time mother (Tracey Osmotherly, who was briefly seen in the braids) and a handful of women with solid borders, and she tells the entire story.
It may not look like relatives, but the dynamic between Porshia and Tabatha look real in moments of friendship and conflict. When Tabatha asks her daughter to flow to the store and buy her credit rulings, Porsche calls her a look that it is a good routine, and one grows unbearable embarrassing. Porshia works when she can, clearly hungry for her mother’s attention, which is divided between two younger and half -dresses from their fathers behind bars or inappropriate. Tomatha is sometimes going to these people all over the city, and they offer hollow promises to send her money.
It can use help. Tabatha did not earn enough to sell her horses nominated in local livestock auctions, as she placed her daughters (not only Porshia, but also the adopted adolescents who support them) a good offer, and they tricks rap music in the ring. However, sales sheds were catastrophic, and the Zamiga family was running out of options. Enter ROY Waters (McNAIY), which is a rich Texas Texas that drives the six -door Megatruck car and knows something special when he sees it.
The plot between Roy and Tabatha is slow to appear, if BeeCroft is more interested in presenting a picture of Tabatha and Docu-Edmacet from Tabatha and her clan-one reinforced through the eloquent narration and the original dialogue. “Life is a real metaphor,” Tercy Persky notes rugged. This may not be true in your life, but beecroft organizes the anarchist Zamigas struggle to something poetic, using the uninterrupted ROY sharing as the backbone of the following, as this pollinated exterior offers an offer to buy the farm and ensure its work.
The work of horses in Tabatha depends on confidence, and obtaining a volatile animal to accept that it does not mean any harm. Now, the equation has been reversed, as Roy is supported to Tabatha, which is reluctant to accept it. No wonder that she admires: compared to her loose mother (that Illy plays as a wild spirit with the level of alcohol in the blood above the legal limit), Tabathta brought the system to the land, livestock and the chosen family that was chosen. Surround it.
As was filmed by Austin Shelton, the broad photos – and even the vertical videos tiktok hujam side by side – transmits an optimistic vision for their future, which is a new start more than Elegy. As the metaphors continue, it may mean a good narrator, but it also represents an ancient Western example, different from Tapatha and her family committed to forgery. It also puts her one character in an appropriate manner: “Welcome to the new West, the old man.”