In southern Dakota, Tabatha Zimiga is at the head of a very special ranch. Indeed, Tabatha intuitively manages to identify the clashes and trauma of so -called “indomitable” horses, which she learned and then sells. The little, too little, that she pocketed serves to bring her three children to life not only, but the Kyrielle of young abandoned, mistreated or badly taken that she collects permanently. This does not always do the Porshia business, the young adolescent youngest, a brilliant rider elsewhere. Docufiction based on the life of Tabatha and Porshia Zimiga, who hold their own roles, East of Wall seduced by his harsh poetry.
Awarded at Sundance, this first feature by Kate Beecroft has only few means, but accounts for a lot of sensitivity and vision. The filmmaker films the very photogenic landscapes of badlands with love and sincerity as we forget how often we have seen them in the cinema. In fact, the film exses a freshness, a truth, irresistible.
Designed in two sub -intrigues which merge to form only as an approach to the outcome (poignant confidences in the feminine plural around a fire), the story deals with the consequences left by the death of the second husband of Tabatha, as well as the precarious daily life. Entering Roy, a wealthy entrepreneur who makes an unexpected offer to the woman at the end of his resources: does Tabatha be wary because she has good reasons, or simply because she is not used to being stretched out?
Here, from there, the narration of Porshia summons, diffusely, Beally, the memory of the first films of Terrence Malick (Badlands/The wild ride; Days of Heaven/The harvests of the sky).
Moving and captivating
Risky, the bet to have two non-professionals played romanticized versions of themselves is paid. In front of the camera, Tabatha and Porshia Zimiga, whose “characters” are not without evoking the magnificent, but reluctant animals that the first, shows charisma and natural.
Tabatha, with his infinite goodness hidden under a skillfully built breastplate (tattoos, half of the shaved skull, your authoritarian), strikes the imaginary. A Rodeo and Tiktok star in real life, Porshia is just as memorable.
In the role of Tracey, the mother of Tabatha, the very talented (and very professional) Jennifer Ehle (A Quiet Passion/Emily Dickinson. The story of a passion ; Saint Maud/Saint-maud) Go to a hair – or a horsehair – to steal the show. It must be said that this is a larger than life score, with matching bagout. What is more, the alcohol level maintained by granny would be enough to dive anyone in an ethyl coma.
Anyway, the English actress blends into this environment as if she were born there. Ditto for scooter McNairy (A Complete Unknown/A perfect stranger), which camps Roy. The fact remains that if the film moves and captivates as it does, it is mainly thanks to the two protagonists and their charisma without primer.
