‘East of Wall’ Review: Three Generations of South Dakota Women Put a New Face on the Western Genre

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The mythology surrounding American cowboys, encompassing their speech, image, and attire, has largely been shaped by Hollywood depictions. In a refreshing twist, Kate Beecroft’s “East of Wall” broadens our perspective on these legendary horse handlers to include the frequently overlooked women. Following in the footsteps of Chloé Zhao’s “The Rider,” this contemporary Western is rooted in reality, with its characters based on real individuals. Beecroft managed to persuade the Zimiga family, particularly single mom Tabitha and her TikTok-famous rodeo queen daughter Porshia, to be part of a drama drawn from their personal experiences, effectively redefining the genre by doing so.

Beecroft finds immeasurable aesthetic worth in the breathtaking South Dakota landscapes, showcased through aerial drone footage capturing the expansive, rugged contours of the Badlands. However, it’s the weathered, sun-scorched visages of her predominantly non-professional actors that give “East of Wall” an authentic, lived-in feel, distinguishing Beecroft’s long-term project. The directors also includes Jennifer Ehle and Scoot McNary in the cast, who convincingly portray a moonshine-making matriarch and a wealthy Texas rancher respectively. Yet, even though acting skills can be taught to drawl, spit tobacco, and ride a horse, scenes of Porshia outrunning the pickup truck on the horizon… there’s simply no imitating that genuine speed.

Tabitha Zimiga, a robustly-constructed single mom from South Dakota with tattoos adorning both arms and an unconventional hairstyle (half shaved), is a mother to three children of her own, yet she opens her 3,000-acre ranch to others whose parents are unable to care for them. This strong and nurturing figure, who once had a deep love for riding but has since given it up following the loss of her husband John, humorously remarks that managing the girls can be more challenging than handling the horses. Gifted with an uncanny knack for identifying and addressing the needs of traumatized animals, she continues to tame wild horses, though she refrains from mounting a horse again, fearful that a fall could leave her injured and unable to care for the group of humans who rely on her for support.

Porshia, who can sometimes be moody and explosive at other times, harbors resentment towards her mother due to the events involving John. According to Porshia herself (in hushed, childlike narration reminiscent of “Beasts of the Southern Wild,” complete with earth rumbling sound effects), John was the one who taught her how to ride and provided a better fatherly presence than her biological dad did. However, there’s a deeper tale that Porshia is not fully aware of. Towards the end of the film, Tabitha sits by a campfire with her on-screen mother (Ehle, smoking and swearing as if she was raised in cowboy boots), her actual mom (Tracey Osmotherly, briefly shown with braids), and several tough frontier women, and she reveals the entire story.

The relationship between Porshia and Tabitha appears authentic in situations of harmony as well as discord. When Tabitha requests her daughter to dash off to the shop and purchase items on credit, Porshia gives a look that hints at this being a frequent occurrence, one that has become increasingly awkward due to its repetition. Porshia often rebels, evidently yearning for her mother’s focus, which is divided among two younger brothers and more than a handful of strays whose parents are either incarcerated or unable to care for them properly. Tabitha occasionally crosses paths with these individuals in town, and they make empty promises to send her money.

Tabitha could really benefit from some assistance. Selling her trained horses at local livestock auctions hasn’t been providing enough income, especially since she not only performs tricks there with Porshia but also supports the adoptive teenagers in her care. Unfortunately, the sales have been poor, and the Zamiga family is running low on alternatives. Along comes Roy Waters (McNairy), a wealthy Texas rancher who drives a spacious six-door truck and recognizes something exceptional when he sees it.

In the secondary storyline involving Roy and Tabitha, development is gradual due to Beecroft’s focus on creating a documentary-esque portrayal of Tabitha Zamiga and her family. This depiction is enriched with poetic narration and dialogue that feels genuine. As Tracey, played by Ehle, states, “Life can be seen as a metaphor,” which may not apply to everyone’s life experiences. However, Beecroft uses the Zamigas’ tumultuous journey as raw material for this poetic interpretation, with Roy’s unexpected involvement serving as the foundation for the subsequent narrative. This self-made outsider proposes purchasing the ranch and financing their operation.

As a movie enthusiast, I find myself deeply moved by Tabitha’s connection with her horses, her ability to earn even the skittish ones’ trust is remarkable. Now, it’s Tabitha who finds herself in a position needing support, hesitant to accept it from Roy. His admiration for her is evident, especially when contrasted with her unpredictable mother (breathtakingly portrayed by Ehle as a free spirit with a blood alcohol level significantly above the legal limit). In comparison, Tabitha has brought a sense of order and stability to the land, the livestock, and the makeshift family that circles around her – a stark contrast to her own mother’s chaos.

In Austin Shelton’s photography, both the panoramic shots and the TikTok videos interwoven create an optimistic view of their upcoming journey, feeling more like a new beginning than a farewell. Roy symbolizes good intentions, but he embodies a different West than the one Tabitha and her family are dedicated to shaping. As one character succinctly states: “You’re stepping into the New West, old-timer.

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2025-02-06 09:17