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The Rider (2018), R, ★★★★


I do not have any experience as a horse rider or personally have any association with horses, but horses are well relevant to where I live. However, horses are beautiful creatures that roam around freely with their owners or live in peace in the fields or in the owners' farms, being solemn and all. But, we do not have many movies from the perspective of a horse rider, in which the filmmakers and writers focus on a rider's subconscious as to how he connects himself with a horse or his passion of riding. And, with help of beautiful cinematography, augmenting the tone and atmosphere, The Rider is a human story that will be in our minds and hearts after it is over.

A horse rider named Brady (Brady Jandreau) was a rising star in the rodeo circuit but he was left with a brain injury that got him sidelined. Now, he lives in financial poverty with his alcoholic and gambling-addictive father, Wayne (Tim Jandreau) and his autistic sister, Lilly (Lilly Jandreau). Because of his brain damage, Brady is prone to seizures due to his lack of motor functions in his right hand. And, doctors have advised Brady to not ride again, otherwise, his seizures will be significantly worse.

Brady has to make some sacrifices to keep their trailer like selling his horse, Gus, and also getting a job as a store clerk to raise money for his family. Also, he has to make a small living breaking horses. With his savings, he wants to buy a new horse and potentially have the chance to ride again, despite his doctors' advice.


I am late with this film and I heard praise about this little film that I could not see because of limited distribution, which is unfortunate. Now, experienced this indie and I adore this film. This is a grand achievement of filmmaking especially in the realms of contemporary westerns because you go into the mind of a character that is attempting for redemption to ride again and it seemed like a cliche but instead director Chloe Zhao focuses on the characters' motive and psychological struggles. But, in a typical Western, it usually focuses on a character with demons in his mind and from the past, in this contemporary Western, he is haunted by pain, physical and psychological, that veers into a threat of his life. And, what is so fascinating that it does not depend on villainous tropes to threaten his attempt of redemption.

Unlike Clint Eastwood who used real-life soldiers in The 15:17 to Paris this year, Zhao uses real-life beings to portrays these characters with such gravitas and you sympathize with each character. And, this is a slice of a portrait of America that is quickly vanishing. We overlook those people who are on those fields or inhabiting the farm life or living those poor conditions. The cinematography by Joshua James Richards makes the scenery poetic and beautiful like you're breathing the air from South Dakota. At times, it is like you're like a museum painting reminiscent of Terrence Malick's films. And, the ending is perfect. Chloe Zhao has a sense of integrity for the landscape and the characters and it is a beautiful film. This is one of the best movies of 2018.

****


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