A deeply disturbing, solid thriller

Rating: 8/10 (30 October 2017)

Having written brilliant scripts for Sicario and Hell or High Water, Taylor Sheridan tries his hand at directing with Wind River, of which he also wrote. It is clear now that Sheridan has a unique talent for creating harsh and isolating landscapes (both somatically and mentally), and for writing engaging narratives based on such settings.
Wind River is the setting for the film's story. An American Indian Reservation in Wyoing, this is where wildlife hunter officer Cory Lambert (Jeremy Renner) discovers the body of a young Native American woman Natalie Hanson (Kelsey Asbille). She is found barefoot and hardly with any warm winter clothes on. Upon much examination, Cory deduces that she died as a result of a condition called pulmonary haemorrhage. In less scientific terms, that is bleeding from the lungs, caused here by breathing in too much cold air too soon.
Cory is joined by young FBI agent Jane Banner (Elizabeth Olsen), who is sent to Wind River to investigate Natalie's death. She is ill- equipped and clueless about surviving the harsh conditions of Wind River but she is determined to solve the crime. Cory and Jane make an effective team together, as both can relate to Natalie's death in their own way. Cory lost his daughter a few years ago and her body was also discovered in the snow. Jane is perceived as young and vulnerable, much like Natalie. They found a clue that Natalie's boyfriend Matt (Jon Bernthal), who works as a security guard at an oil drilling site may have some information.
The film is effective at slowly building up curiosity and Sheridan finds the impeccable balance between character development and storytelling. For most of the film, it carries a pervasive sinister tranquility, which is later interrupted by sudden outbursts of violence. Despite the uncensored brutality of the violence, for us, the chilling factor lies in the profound psychological impact. As we found out what happened to Natalie through a cleverly placed flashback, it is absolutely terrifying. Having been introduced and acquainted to the unforgiving nature of the winter landscape, we wonder what could push Natalie so far that she would flee outside, barefoot. Although it is anticipated something dreadful is going to happen, I still couldn't help but feeling sick to the stomach.
Wind River is portrayed as a land with vast open spaces. Normally, this would usually signify freedom and free will, but we feel trapped and very claustrophobic. Sheridan also adds another emotional layer where he deals with themes of loss and despair. It doesn't feel entirely hopeless, as he injects some degree of warmth and sensitivity into the story. Natalie's father Martin (Gil Birmingham) is a friend of Cory's, and together they navigate through the tremendous grief of losing their daughters. Both men have been hardened by the external environment they reside in, but within, they are gentle and deeply lost. They are men who are not afraid to express their grief, and are desperately trying to scavenge enough hope to live through the next day.
What I realised in this film is that everything that happens is consequential. The unrelentingly cruel environment imposes disturbing effects on the human psyche, which in turn transforms man into unleashing terror. Tragedy strikes, and the overwhelming grief then leads man into unpredictable acts. Who here is the true evil? Is it the scathing coldness of the landscape around us or does it merely reflect our true nature? The film doesn't really answer these questions, but it is definitely some food for thought.