![]() Dwarfed by the immensity of snowy landscapes in aerial wide shots, her car pushes on through empty roads enshrouded in contemplative stillness. No details of what she is running from or toward are provided at this point. ![]() Tana (Lily Gladstone), a seemingly reserved Native American woman, leaves Minnesota for a cross-country trip in her well-loved vehicle. Based on that, she forges eclectic narrative devices for a tone poem with substantial dramatic meat on its bones.Īs it’s requisite for a road movie to start, “The Unknown Country” opens with a departure. ![]() ![]() Still, the evident links are all there: she’s from Texas and made a movie that traverses the Badlands of South Dakota for her heroine to get back to “The Lone Star State.” But while the stirring visual fluidity of “ The Unknown Country,” her first fiction feature and a kindhearted triumph, provides further arguments pointing to Malick likely being an influence, what distinguishes Maltz’s approximation to that style of evocatively loose filmmaking is that it’s grounded on the personal victories of real individuals. To deem Morrisa Maltz a spiritual disciple of revered master Terrence Malick may seem too facile a reference.
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