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San Francisco Chronicle
3 days ago
- Entertainment
- San Francisco Chronicle
Review: ‘East of Wall' a lyrical ode to the real cowgirls of the new West
Filmmaker Kate Beecroft points her lens toward the real cowgirls of the Badlands in the lyrical new film 'East of Wall.' The film, which won an audience award earlier this year at the Sundance Film Festival, blends fact and fiction to tell a story about the working women of South Dakota, skilled riders and trainers with ranching and rodeo in their blood who also can't seem to catch a break. There are a few Hollywood actors in the mix, including Jennifer Ehle ('King's Speech') as a hard living grandmother with a lifetime of regrets as well as some nuggets of wisdom and Scoot McNairy (' A Complete Unknown ') as an out-of-towner who wants to acquire the land, but most of the cast are non-actors playing themselves. At the heart of 'East of Wall,' now playing in select theaters, is Tabatha Zimiga, a South Dakota native whose ability to tame wild horses is the stuff of legend in the area. In the film, the horses she rescues and rehabilitates are sold at auctions and often accepted for far less than what they're worth. She needs the money. There are bills to pay on the ranch and many mouths to feed (not just her own children, but others from around the town who come to her for safety and shelter when their own caretakers stop providing). Tabatha is also living with new and old traumas, from the generational agony of abuse to the more recent death of her husband, the shocking circumstances of which are withheld for some time. But the effects of the loss are still felt, especially for their daughter Porshia (played by her real-life daughter Porshia Zimiga), whose grief is threatening to turn into hate of her mother. Teenage Porshia provides the poetic voiceovers, in which she talks about riding, her mother and, most effectively, the land. It's reminiscent of Linda Manz's narration in 'Days of Heaven' (1978). 'East of Wall' is best when it's capturing the landscapes and the girls in action, riding and filming energetic TikToks of their friends racing cars on horseback. Some have suggested that 'East of Wall' might have been stronger as a documentary. These women are vibrant and authentic and don't look like anyone we see in the movies these days, with real bodies and imperfect skin, heads half-shaved, tattoos everywhere and the ability to really, really ride — no stunt team required. And they have stories to tell, many of them unhappy, as we see in one of the most moving non-action scenes involving a group of mothers speaking candidly about their lives and their regrets. The real-life drama of financial instability is compelling and likely rooted in truth; however, the introduction of McNairy's suspect Texan feels like a narrative contrivance and drama for drama's sake. He offers to buy the ranch and let them live and work as usual, just for him now instead of themselves. These are the kind of scenes that remind you that the filmmakers, despite all their best intentions and care, are, in essence, also interlopers in this world. Beecroft's story of how she stumbled upon Tabatha and her cowgirls sounds like something out of a folk song. A native of Los Angeles who'd worked as an actress and production designer, Beecroft felt stalled and hopped in a truck with her friend and cinematographer Austin Shelton to find the stories of everyday Americans. A wrong turn, she said, led her to these women.
3 days ago
- Entertainment
Movie Review: A lyrical ode to the real cowgirls of the new West in ‘East of Wall'
Filmmaker Kate Beecroft points her lens toward the real cowgirls of the Badlands in the lyrical new film 'East of Wall.' The film blends fact and fiction to tell a story about the working women of South Dakota, skilled riders and trainers with ranching and rodeo in their blood who also can't seem to catch a break. There are a few Hollywood actors in the mix, including Jennifer Ehle as a hard living grandmother with a lifetime of regrets as well as some nuggets of wisdom and Scoot McNairy as an out-of-towner who wants to acquire the land, but most of the cast are non-actors playing themselves. The film won an audience award earlier this year at the Sundance Film Festival. At the heart of 'East of Wall,' now playing in select theaters, is Tabatha Zimiga, a South Dakota native whose ability to tame wild horses is the stuff of legend in the area. In the film, the horses she rescues and rehabilitates are sold at auctions and often accepted for far less than what they're worth. She needs the money. There are bills to pay on the ranch and many mouths to feed (not just her own kids, but others from around the town who come to her for safety and shelter when their own caretakers stop providing). Tabatha is also living with new and old traumas, from the generational agony of abuse to the more recent death of her husband, the shocking circumstances of which are withheld for some time. But the effects of the loss are still felt, especially for their daughter Porshia (played by her real-life daughter Porshia Zimiga), whose grief is threatening to turn into hate of her mother. Teenage Porshia provides the poetic voiceovers, in which she talks about riding, her mother and, most effectively, the land. It's reminiscent of Linda Manz's narration in 'Days of Heaven.' 'East of Wall' is best when it's capturing the landscapes and the girls in action, riding and filming energetic TikToks of their friends racing cars on horseback. Some have suggested that 'East of Wall' might have been stronger as a documentary. These women are vibrant and authentic and don't look like anyone we see in the movies these days, with real bodies and imperfect skin, heads half-shaved, tattoos everywhere and the ability to really, really ride — no stunt team required. And they have stories to tell, many of them unhappy, as we see in one of the most moving non-action scenes involving a group of mothers speaking candidly about their lives and their regrets. The real-life drama of financial instability is compelling and likely rooted in truth; however, the introduction of McNairy's suspect Texan feels like a narrative contrivance and drama for drama's sake. He offers to buy the ranch and let them live and work as usual, just for him now instead of themselves. These are the kind of scenes that remind you that the filmmakers, despite all their best intentions and care, are, in essence, also interlopers in this world. Beecroft's story of how she stumbled upon Tabatha and her cowgirls sounds like something out of a folk song. A native of Los Angeles who'd worked as an actress and production designer, Beecroft felt stalled and hopped in a truck with her friend and cinematographer Austin Shelton to find the stories of everyday Americans. A wrong turn, she said, led her to these women. 'East of Wall' is a promising start for a burgeoning filmmaker and a worthy portrait of an insular world that many of us will never know. 'East of Wall,' a Sony Pictures Classics release now in select theaters, is rated R by the Motion Picture Association of America for 'language throughout.' Running time: 97 minutes. Three stars out of four.
San Francisco Chronicle
3 days ago
- Entertainment
- San Francisco Chronicle
Movie Review: A lyrical ode to the real cowgirls of the new West in ‘East of Wall'
Filmmaker Kate Beecroft points her lens toward the real cowgirls of the Badlands in the lyrical new film 'East of Wall.' The film blends fact and fiction to tell a story about the working women of South Dakota, skilled riders and trainers with ranching and rodeo in their blood who also can't seem to catch a break. There are a few Hollywood actors in the mix, including Jennifer Ehle as a hard living grandmother with a lifetime of regrets as well as some nuggets of wisdom and Scoot McNairy as an out-of-towner who wants to acquire the land, but most of the cast are non-actors playing themselves. The film won an audience award earlier this year at the Sundance Film Festival. At the heart of 'East of Wall,' now playing in select theaters, is Tabatha Zimiga, a South Dakota native whose ability to tame wild horses is the stuff of legend in the area. In the film, the horses she rescues and rehabilitates are sold at auctions and often accepted for far less than what they're worth. She needs the money. There are bills to pay on the ranch and many mouths to feed (not just her own kids, but others from around the town who come to her for safety and shelter when their own caretakers stop providing). Tabatha is also living with new and old traumas, from the generational agony of abuse to the more recent death of her husband, the shocking circumstances of which are withheld for some time. But the effects of the loss are still felt, especially for their daughter Porshia (played by her real-life daughter Porshia Zimiga), whose grief is threatening to turn into hate of her mother. Teenage Porshia provides the poetic voiceovers, in which she talks about riding, her mother and, most effectively, the land. It's reminiscent of Linda Manz's narration in 'Days of Heaven.' 'East of Wall' is best when it's capturing the landscapes and the girls in action, riding and filming energetic TikToks of their friends racing cars on horseback. Some have suggested that 'East of Wall' might have been stronger as a documentary. These women are vibrant and authentic and don't look like anyone we see in the movies these days, with real bodies and imperfect skin, heads half-shaved, tattoos everywhere and the ability to really, really ride — no stunt team required. And they have stories to tell, many of them unhappy, as we see in one of the most moving non-action scenes involving a group of mothers speaking candidly about their lives and their regrets. The real-life drama of financial instability is compelling and likely rooted in truth; however, the introduction of McNairy's suspect Texan feels like a narrative contrivance and drama for drama's sake. He offers to buy the ranch and let them live and work as usual, just for him now instead of themselves. These are the kind of scenes that remind you that the filmmakers, despite all their best intentions and care, are, in essence, also interlopers in this world. Beecroft's story of how she stumbled upon Tabatha and her cowgirls sounds like something out of a folk song. A native of Los Angeles who'd worked as an actress and production designer, Beecroft felt stalled and hopped in a truck with her friend and cinematographer Austin Shelton to find the stories of everyday Americans. A wrong turn, she said, led her to these women. 'East of Wall' is a promising start for a burgeoning filmmaker and a worthy portrait of an insular world that many of us will never know. 'East of Wall,' a Sony Pictures Classics release now in select theaters, is rated R by the Motion Picture Association of America for 'language throughout.' Running time: 97 minutes. Three stars out of four.
Winnipeg Free Press
3 days ago
- Entertainment
- Winnipeg Free Press
Movie Review: A lyrical ode to the real cowgirls of the new West in ‘East of Wall'
Filmmaker Kate Beecroft points her lens toward the real cowgirls of the Badlands in the lyrical new film 'East of Wall.' The film blends fact and fiction to tell a story about the working women of South Dakota, skilled riders and trainers with ranching and rodeo in their blood who also can't seem to catch a break. There are a few Hollywood actors in the mix, including Jennifer Ehle as a hard living grandmother with a lifetime of regrets as well as some nuggets of wisdom and Scoot McNairy as an out-of-towner who wants to acquire the land, but most of the cast are non-actors playing themselves. The film won an audience award earlier this year at the Sundance Film Festival. At the heart of 'East of Wall,' now playing in select theaters, is Tabatha Zimiga, a South Dakota native whose ability to tame wild horses is the stuff of legend in the area. In the film, the horses she rescues and rehabilitates are sold at auctions and often accepted for far less than what they're worth. She needs the money. There are bills to pay on the ranch and many mouths to feed (not just her own kids, but others from around the town who come to her for safety and shelter when their own caretakers stop providing). Tabatha is also living with new and old traumas, from the generational agony of abuse to the more recent death of her husband, the shocking circumstances of which are withheld for some time. But the effects of the loss are still felt, especially for their daughter Porshia (played by her real-life daughter Porshia Zimiga), whose grief is threatening to turn into hate of her mother. Teenage Porshia provides the poetic voiceovers, in which she talks about riding, her mother and, most effectively, the land. It's reminiscent of Linda Manz's narration in 'Days of Heaven.' 'East of Wall' is best when it's capturing the landscapes and the girls in action, riding and filming energetic TikToks of their friends racing cars on horseback. Some have suggested that 'East of Wall' might have been stronger as a documentary. These women are vibrant and authentic and don't look like anyone we see in the movies these days, with real bodies and imperfect skin, heads half-shaved, tattoos everywhere and the ability to really, really ride — no stunt team required. And they have stories to tell, many of them unhappy, as we see in one of the most moving non-action scenes involving a group of mothers speaking candidly about their lives and their regrets. The real-life drama of financial instability is compelling and likely rooted in truth; however, the introduction of McNairy's suspect Texan feels like a narrative contrivance and drama for drama's sake. He offers to buy the ranch and let them live and work as usual, just for him now instead of themselves. These are the kind of scenes that remind you that the filmmakers, despite all their best intentions and care, are, in essence, also interlopers in this world. Beecroft's story of how she stumbled upon Tabatha and her cowgirls sounds like something out of a folk song. A native of Los Angeles who'd worked as an actress and production designer, Beecroft felt stalled and hopped in a truck with her friend and cinematographer Austin Shelton to find the stories of everyday Americans. A wrong turn, she said, led her to these women. 'East of Wall' is a promising start for a burgeoning filmmaker and a worthy portrait of an insular world that many of us will never know. 'East of Wall,' a Sony Pictures Classics release now in select theaters, is rated R by the Motion Picture Association of America for 'language throughout.' Running time: 97 minutes. Three stars out of four.
Los Angeles Times
3 days ago
- Entertainment
- Los Angeles Times
Woman-centered western ‘East of Wall' saddles up a sensitive docu-fiction hybrid
Any western worth its dusty boots and big-sky openness should know what's breathtaking about freedom, at the same time grasping how being tamed is an uneasy, clarifying rite of passage. That men have typically led these stories means there's a lot still to be mined when women tackle this genre — both in front of and behind the camera — and in 'East of Wall,' about a struggling ranch matriarch (Tabatha Zimiga) with a headstrong daughter (Porshia Zimiga), writer-director Kate Beecroft has found a worthy modern story of cowgirl hardiness near South Dakota's Badlands. That air of independence and restriction applies also to what 'East of Wall' itself is: a narrative centered on first-time actors playing versions of themselves in a story shaped from their lives, in this case the joys and sorrows of the Zimigas' open-plains existence rescuing, riding and selling horses, and dealing with financial uncertainty after the loss of a loved one. When Chloé Zhao took the docu-fiction approach with her melancholy 2017 neo-western 'The Rider,' the blended realism and dramatic choreography achieved something heartbreaking, reawakening the hybrid's possibilities. Beecroft's solid-enough first feature isn't as effortlessly transcendent — the seams show a bit more. But there's plenty of lived-in warmth in its accumulation of details and it gives needed voice to the concerns of women forging their own way in an environment that isn't exactly kind on anyone. Very quickly, we're swept up in what's loose, chaotic and appealing about tough, tattooed horse whisperer Tabatha and her rough-and-tumble operation, which includes her own children — Porshia is already a rising rodeo star — and various teenagers from this strapped region's broken homes, plus her hard-bitten mom (Jennifer Ehle), who enjoys her peach moonshine. There's an unruly found-family charm that belies what's isolating and rundown about their situation and Austin Shelton's vista-friendly cinematography does a good job contrasting that beauty and severity, especially in Tabatha herself, an earthy, battle-hardened goddess with a head half-shaved and half-draped with golden hair, and kind eyes rimmed with mascara. She always looks ready to calm a bronc, knock back a beer or tell you off. Tabatha's reputation for breaking wild steeds and supporting wayward kids is legion and her sales methods lean toward the unconventional: TikTok videos that frame horses at full speed against ravishing backdrops, and at barn sales, showcases that spotlight her girls' performing skills. Money is tight, though, and the sting of her husband's suicide a year earlier has put a grief wedge between Tabatha and Porshia as each tries to imagine what the future holds. That's when an observant, dogged Texas rancher with his own baggage (Scoot McNairy) shows up with a tempting lifeline that puts everyone's ownership of their fate in stark relief. 'East of Wall' lives in that indie space of wanting to respect and vibe equally, which means there's a little too much slo-mo montage and, considering how invested we are in this family, not enough memorable scene work. But even with the thinnest of narrative framing and some arty touches that feel superfluous, there's an overall portrait of authentic grit and resilience here, of knowing when to hold on and when to let go, that is well-nurtured by Beecroft's admiring eye for these renegade women. Nothing against McNairy and Ehle who play well with the first-timers, but there are moments when you wonder if Beecroft should have straight-up made a documentary, foregoing the harnessing of scripted incident for the rawness of what drew her to these people and this world in the first place. Which is another way of saying mother and daughter Zimiga are real finds, true-to-themselves keepers of a heartland tradition, and fresh faces getting to tell that story in a nontraditional form.
