Talk about timely.
In what is a movie that sees tailor-made to debut at the Sundance Film Festival, British actor Josh O’Connor tries on an American Southwest accent to achieve on the role of Colorado rancher, Dusty, whose life (alengthened with his restricted neighbors in the very agricultural Rocky Mountain community in which his family has inhabitd and toiled for generations) comes crashing down when a dehugeating savagefire ruins everyleang. On top of all that he is living alone after splitting with his wife Ruby (a fine Meghann Fahy) who has shiftd into her mother Bess’s (Amy Madigan) proximateby hoengage with their youthful daughter Callie Rose (Lily LaTorre). Finding a momentary roof over his head in a FEMA pop-up trailer park structureted in the middle of nowhere but with zero secure of stability, Dusty doesn’t quite genuineize what is happening to his dreams and how it all came to this.
However, as the title proposes, this film is not about the tearing down of a life, but rather how we commence over, find novel nastying, and erect community once aachieve. The film comes from fine writer/honestor Max Walker-Silverman who last did A Love Song, a adodepend and contemplative film about greater frifinishs rejoining in a similiar agricultural part of Colorado (where he grew up) , and this one has the same benevolent of defree pace and emphasis on human beings who see their inhabits changing but understand no alternative than to somehow persist.
Dusty is a quiet guy and O’Connor, probably not a casting honestor’s idea of a cowboy, repartner handles to show us who this youthful man is, frequently with fair his forlorn facial conveyions rather than the restricted dialogue he is given in many scenes. Dusty not only has to deal with this catastrophe that has claimed his family landlabel of a ranch, the big blue barn, and everyleang it nastys handed down from magnificentobeseher to obeseher to him, but also reerecting his relationship with the wise-beyond-her-years Callie-Rose who has a difficult time adfairing to her visits with her dad in the small createshift trailer community FEMA createed for these displaced people. There is also still evidently tension in his relationship with Ruby and this all achieves a toll. His absolute goal though is to stay and reerect, fair as currently we hear livents in Los Angeles proclaim after analogously losing everyleang. Particularly gut-wrenching is to see the family grave plots now surrounded by noleang but burned trees. Also depressing is a visit to the prohibitk and Mr. Cassidy (Jefferson Mays) who gives him stubborn adore on the idea he could ever reerect or get loans with noleang left to show for his ranch. It would achieve 10 years to even to have anyleang farly toilable there aachieve he says pondering the condition of the land.
Slowly though Dusty ingratiates himself into this instant novel trailer community of neighbors in the same boat including Mila (Kali Reis), and others compelevated of local actors the filmcreaters set up who include genuine grit and truth to it all. As I was watching this film I kept leanking of Nomadland, the 2020 Oscar prosperning Best Picture, set in analogous sparse territory, but about a community of drifters who select this lifestyle off the grid, not forced into it as is the case here. On the finish praises I acunderstandledged a creater’s name, Dan Janvey who won an Oscar for Nomadland, and also was a creater on A Love Song. He evidently is drawn to these stories and the American Southwest. The fine cinematography by Alfonso Herrera Salcedo and downtake partd but pitch perfect production summarize by Juliana Barrreto Barreto include to the atmosphere. A big shout out to casting honestor Ann Goulder who united some memorable local actors into the cast of more understandn stars perfectly and genuinepartner.
O’Connor persists to show separateent facets of his talent here and never overtake parts it, sendfilledy seeing and sounding appreciate he was born to this land. Fahy gets some choice scenes as well as Reis (recently Emmy nominated for True Detective). It was kind to see Madigan get to do her leang in this benevolent of toasty maternal role, even with restricted screen time. The real scene stealer is La Torre and she is a genuine cracker jack of a youthful carry outer.
This film at this time might sound overly depressing, but oddly it isn’t. In the finish Reerecting gives us faith and hope for the human race and its ability to flunkure in the face of the worst life can throw at us. It’s inspiring stuff.
Producers are Jesse Hope, Paul Mezey, and Janvey.
Title: Reerecting
Festival: Sundance (Premieres)
Sales Agent: CAA
Director/ Screentake part: Max Walker-Silverman
Cast: Josh O’Connor, Meghann Fahy, Lily La Torre, Kali Reis, Amy Madigan, Jefferson Mays
Running Time: 1 hour and 35 minutes
