“Disenfranchisement, the sense that institutions have abandoned folks, the passing of the old, the wounds of the country - it was in there from the start,” admits the film’s director David Mackenzie ( Starred Up). And somehow, as it transitioned from a limited opening to a wide release over the weekend, in a landscape dominated by superheroes and foul-mouthed sausages, this critically praised, minor-key gem has slowly emerged as the unlikely sleeper hit of the summer. films to genuinely wow audiences at this year’s Cannes Film Festival. But gracefully nestled within this gritty nugget of Lone Star pulp is a story about fraternal bonds (blood-related and otherwise), social commentary about the way our financial system fucks over the little guy and the sense that certain things are coming to an end - both the ability to live with dignity when the game is rigged and the myth of the American West. (You can catch the shot at the 43-second mark in the trailer below.) It’s a crime thriller about brothers holding up small banks, updating a tried-and-true B-movie narrative about robbers on the run and the men trying to catch them. When you see the image Pine is talking about, which appears a little past the midway point or so of Hell and High Water, you understand why it might help him find the mood of the movie’s mournful take on living and dying in the closest thing we’ve got to a modern wild frontier, i.e.
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