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by Lynn Lee

It should come as no surprise that writer-director Taylor Sheridan,currently hot in Hollywood after his Oscar screenplay nomination forHell or High Water,is an actual,bona fide cowboy.Perhaps that's why his work feels like such a throwback—to an era in which quietly capable men,silently toting unspoken burdens,took on the joyless task of meting out frontier justice.At the same time,he's shown a canny gift for placing such old-school archetypes in a distinctly modern,of-this-moment social and political context,making their struggles feel unexpectedly timely or,rather,timeless.That gift is on ample display in his new film,Wind River,which is now in wide release after nabbing the best directing prize in the Un Certain Regard categoryat Cannes earlier this year.

Set on a remote,wintry Indian reservation in Montana,the film marks the third installment in a loose trilogy of Westerns penned by Sheridan (the first two beingSicarioandHell or High Water),thoughWind Riveris the first one he directed...


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