Western, born in the society of American Patriarchy, was a genre not a local and extremely mobile. Throughout history, it gave rise to Italian, German and even Czech variety, intermarried with samurai and Chinese counterparts has become the object of postmodern parody. During the leftist rise in the U.S. in the 1960s declared itself a revisionist antiwestern, where the situation of the frontier was presented from the point of view of the Indians, and now don’t need to be a prophet to predict the emergence of films that prove that “black lives matter”, in the plots of westerns too.The action takes place two centuries ago in the forests of Oregon, where only just arrived immigrants. And — full international: kindly Jew Gigovic from Maryland, nicknamed Cookie (John Magaro) makes a adventurous Chinese by the name of king Liu (Orion Lee) from the pursuing of the company of Russian hunters for furs. It is ridiculous, says one of the settlers, “white men have no place here”, given that there is also Indians, and even Indian women: the latter kept quiet, but apparently soon will take her.Francois Truffaut at the time, said: “If I had to put the westerns, unlike Ford, who, when the Indians attacked, the women hiding in the corners, and the two men fight, I would never do that. Because I always thought that without women on the screen nothing happens.” Really one not from Kelly Reichardt, one of the most respected women in the Director’s profession, it is logical to expect the rehabilitation of femininity, but the logic is deceiving: the characters of this film are mostly men. Moreover, they are shown with sympathy. A couple of them, Cookies and BJ, associated strange friendship, and organize the business of baking is very tasty “homemade” doughnuts and even a gourmet French dessert clafoutis. However, they would have at night to steal milk is illegal to milk someone else’s cow, the only one in the district and owned by local authority-the mayor, a plump Englishman in a tuxedo and monocle (Toby Jones): he is like a doughnut and no wonder is the main consumer of confectionery products.So where actually is rooted in gender, and along with environmental the beginning: starting from conservative “masculine” genre, the film is not really looking for support in tradition, and soars in free flight. He takes us to the origins of Western and its main character — a cowboy, that is a shepherd, historically engaged in the corral the bulls and only in the course of business and as required by the skirmishes with Indians and bandits. The mythology genre is essentially turned inside out: instead of a bull is the cow, and instead of intrigue, unpredictable plot twists and turns, the film from the very beginning makes it clear that Cookies and Liu did not get to San FranceSKO (it is their “American dream”), and will finish his modest life in the Oregon woods. It is their skeletons, covered with earth, discover two hundred years later, the girl walking the dog in the first frame of the movie.Photo: Film Sepretaly approach, however, does not detract from his excitement. Reichardt achieves the desired effect because of the thin feeling of the poetry of the American landscape, served with a light, “jarmuschewski” a touch of mysticism. Appropriate and the epigraph from William Blake: “For the birds nest for the spider a web and man friendship.” But above all this story is clear from the archaic and witty comments on the subject of political economy of early capitalism and modern politically correct clichés, including multiculturalism, toxic masculinity, and even a “sacred cow” as a female optics.
