‘Rebuilding’ Review: Josh O’Connor Is a Rancher Who’s Lost Everything in a Drama That Mostly Just Sits There

by

The term “Rebuilding” falls under a genre that is no longer popular: the leisurely paced Sundance film set in a rural American state. By “red state,” I don’t mean it promotes conservative politics. Instead, I refer to its deep immersion in the romanticized aspects of the American West – the horses and farmhouses, the arid landscapes, the small-town banks and modest convenience stores, the men wearing cowboy hats and boots, the dialogue that’s so sparse it could fit a truck between the sentences.

As a film enthusiast, attending a festival like Sundance always feels special, with indie films carrying an edgy, countercultural vibe that says “Even we, the progressives, can appreciate these neo-traditional elements!” However, when the credits rolled on “Rebuilding,” the applause echoed throughout the theater. Sadly, for me, it fell flat – more like a half-baked movie that’s overly self-aware of its austere style and attempts to mask its Antonioni-on-a-horse-like pacing with an excessive amount of sentimentality.

In the leading role is Josh O’Connor, who delivered my favorite acting performance in “Challengers” last year. I was excited to see how he would portray a melancholic American rancher, being British himself. To my relief, he pulls it off remarkably well. He embodies an authentic character, rough and silent with a profoundly soulful touch, effectively conveying the deep sorrow within Dusty, a character who has suffered immense loss. The movie takes place two months after a devastating wildfire, lending it a haunting and poignant similarity to the fires in Los Angeles. It appears that Dusty lost his cherished ranch, which was once a picturesque location built by his great-grandfather. Now, it’s just a barren expanse of land surrounded by skeletal, charred tree trunks where the clearing used to be.

However, there’s another layer of sorrow hidden within that single loss. Dusty has an ex-spouse, Ruby (portrayed by Meghann Fahy), who resides in a quaint townhouse, and they share a daughter, Callie Rose (Lily LaTorre), around seven or eight years old. She lives with Ruby and her partner, suggesting that Dusty doesn’t visit her frequently. The movie seems to imply, in its concise Western fashion, “No need for inquiries about the reason behind this absence. That’s more for urban dwellers.

It’s possible that you feel the characters Dusty, Ruby, and Callie could have had more detailed backgrounds developed. This is particularly true given the harmonious vibe between Josh O’Connor‘s character and Meghann Fahy’s, as we learn they shared a first date when they were 12. However, his character seems somewhat out of place compared to their dynamic. With limited information about Dusty’s past, a part of us wonders if he could return to live with his family. Actress Amy Madigan portrays Callie’s grandmother, Bess, who exudes warmth and tending to pot plants, further enhancing the rustic, picturesque charm of the story.

I’ve found myself residing in a pristine, all-white trailer home, nestled within a cluster of six similar trailers, strategically placed as an emergency refuge in the heart of a desolate landscape. Surrounding me are a few fellow travelers who, like me, have been displaced from their homes. As we come together to break bread and exchange brief words about our challenging circumstances, a temporary yet strong-knit community emerges.

As a movie enthusiast, I found myself deeply immersed in “Rebuilding,” a heartwarming tale that seamlessly blends elements of a father-daughter bonding story with hints of a downsized trailer park drama, reminiscent of “Nomadland.” The protagonist, Dusty, appears to be a man reconnecting with his child, Callie, after a prolonged absence.

In the movie, Dusty has a backup plan – he might head to Montana to work on his cousin’s ranch, but there’s also a dream burning within him post-wildfire. He owns the 200 acres of land that once housed his ranch and yearns to restore it to its original glory, rebuilding the farmhouse exactly as it was, complete with a pot-belly stove.

During one scene where they adorn the walls of his trailer with glowing stars, you can almost feel the hope radiating between them. It’s a poignant moment that speaks volumes about their shared aspirations for the future.

However, Dusty discovers during a meeting with the local banker that his long-held dream has been dashed. The wildfire that swept through was categorized as “high severity,” meaning his land will be unproductive for farming for 8 to 10 years. The reality of this predicament is heartbreaking: Dusty isn’t just mourning the loss of his ancestral home, but also watching the ashes of his entire life. Yet, despite its poignancy, the story lacks a driving force or tension. I found myself moved by Dusty’s sorrowful expression at times, but in the hands of director Max Walker-Silverman, “Rebuilding” seems to lack momentum. In the end, when it attempts to inspire hope, all I could think was: How will Dusty earn a living now? Perhaps it’s fitting, in 2025, that a Sundance film set in a red state didn’t bother to address this crucial aspect of the story.

Read More

2025-01-27 05:46