For all its longevity and tradition, the western is a genre that responds well to reinvention. Daniel Barber’s The Keeping Room (2014), for example, is among the handful to be told from the female experience, while Patrick Hughes’ Red Hill (2010) is one of many to transplant the template to modern times and other countries. And while Chinese-born writer/director Chloe Zhao hasn’t attempted to turn the genre entirely on its head, her sophomore feature The Rider does reshape the traditional cowboy narrative in a way that both embraces and challenges western tropes.
[Note: This review contains spoilers]
Ancient tradition and modern capitalism collide in this striking, and strikingly confident, debut feature from Zambian-Welsh filmmaker Rungano Nyoni, who draws on her dual background to craft a tale rich in murky superstition and clear-eyed social commentary. It is set in the small communities around Zambia’s capital Lusaka, whose inhabitants wear modern clothes, listen to Western music and place great faith in old ideas of spirits and witchcraft.
Monsters prowl the English countryside in Beast and although they may be of the human variety, their bite is no less savage. In this blistering feature debut from award-winning short filmmaker Michael Pearce, fairy tale romance and horrific true crime collide over the course of one sweltering Jersey summer and, for flame-haired protagonist Moll (Jessie Buckley), life will never be the same again.