2022 * Not Rated * 1h 25m If you’re looking for a fast-paced, thriller, you’ll probably want to pass on this one. “The Unknown Country” is a gentle, lyrical road-trip movie that’s primarily focused on a young woman dealing with loss, healing, and self discovery. It’s the very antithesis of an action film. But what a wonderful experience it is. It’s an hour and a half respite from the troubled reality we’re currently living through.
The film is from the talented young director Morrisa Maltz, a relative newcomer who’s known for her films “Jazzy” and “Ingrid.” It’s unfortunate that this film had such a limited release, but it’s been garnering quite a bit more attention now that it’s offered on a number of streaming platforms. Maltz wrote the screenplay along with its star Lily Gladstone and Lainey Shangreaux.
This is the perfect example of what an indie film is all about. Like most indies, it was made on a limited budget. But it features great performances from everyone in it, especially Lily Gladstone. Gladstone has been rather busy as of late, appearing in several films including “Killers of the Flower Moon,” “Jazzy,” and the tv series “Reservation Dogs.” She does an outstanding job here, and was captivating in every scene she appears in. And she’s one of the few professional actors in the movie—the rest of the cast are real folks Ms. Maltz encountered along the way.
The cinematographer Andrew Hajek did a phenomenal job—which is most apparent in the camerawork of the countryside, painting a gorgeous portrait of what a beautiful country we live in. There were several shots of snow-covered landscapes that I thought would make wonderful paintings. His use of arial photography of Lily driving on deserted stretches of highway were equally impressive. They perfectly captured the mood of loneliness and isolation.
As the film begins, we meet Tana (Gladstone) a young Oglala Lakota woman living in Minneapolis. She was the primary caregiver for her terminally ill grandmother, who has just passed away. She packs up her grandmother’s Cadillac and hits the road. Her first stop is Spearfish, South Dakota, to reunite with her Native American relatives and participate in her cousin Lainey Bearkiller Shangreux’s wedding.
Lainey describes the events leading up her wedding. She met and fell in love with her childhood sweetheart Devin when they were only 13 years old. As she puts it, “We got tired of our parents trying to keep us away from each other.” They decided to have a child so they couldn’t be kept apart. Jasmine, a smart, energetic young girl was the result of their plan. As you’d expect, the entire segment of the film is focused on Tana spending time with her family and is full of joy leading up to the actual wedding ceremony. It’s a scene that ends too quickly.
Tana’s next stop is the Pine Ridge Reservation, to reconnect with her grandmother’s younger brother August, played by Richard Ray Whitman (“Reservation Dogs”). He tells her that her grandmother was almost like a second mother to him and that Tana reminds him of her. It’s a tender scene as we listen in on him reminiscing about his past. When the two of them hug at the end of Tana’s visit, it’s quite an emotional send off. You get the sense that it won’t be the last time the two get together.
The last portion of the film takes place in Texas. It’s a welcome relief from the snowy, frigid climates Tana’s been experiencing. It’s also the most joyous part of the story. Tana decides to stop in a bar/dance hall and has a blast participating in some exuberant line dancing. lt’s led by the 90-something year old Florence, or Flo as she’s known to everyone. Then she hooks up with a bunch of fun-loving kids her own age and ends up spending the rest of the evening with them. One of the gang is Isaac, played by “Top Gun: Maverick’s” Raymond Lee. The two of them hit it off and it’s a perfect antidote to the melancholy feeling that’s been just below the surface for Tana.
Overall, the film felt like a hybrid of a documentary and fiction. One of the techniques that Ms. Maltz employed is after several of the scenes, there was a brief aside where the focus of the scene discusses his or her life. I especially enjoyed the commentary from Pam, an offbeat waitress at a diner Tana visits early in the film. Her explanation of how she acquired all her cats and their names is very entertaining. I wish she included more of these insightful interludes.
Another thing I appreciated is the fact that the movie never turned dark. There’s one scene where while getting gas at night, she encounters a creepy-looking guy staring at her. When she pulls out of the gas station, she notices him following her. “Uh-oh,” I said to myself. But before long, he turns off the road and that’s the last we see of him. The fact that the movie ends up on a happy note was refreshing. In a way it reminded me a bit of last year’s “Train Dreams.” They both have a quietly calming feel to them—kind of like movie therapy!
Note to parents: The film is unrated and I’d give it a PG-13. Fine for family viewing.
As luck would have it, you have a bunch of viewing options. Streaming for free on Kanopy and Hoopla (with your library card) and Tubi. And on Netflix, Hulu, and Prime, and to rent on Apple TV, YouTube, Plex, and Fandango.
4 1/2 stars out of 5
