Horizon Will Be a Monumental Achievement — If Kevin Costner Can Finish It

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The fictional town of Horizon, along with the movie “Horizon: An American Saga,” directed by Kevin Costner, haven’t materialized in reality yet. Last year, the first chapter of this planned four-part western saga was screened at Cannes Film Festival and later shown in cinemas during summer. Despite a modest box office performance and rumored studio interferences, Warner Bros. chose not to release the second chapter, which premiered at the Venice Film Festival but hasn’t been officially distributed yet. As of now, it doesn’t have a release date or a distributor, though it recently had its U.S. debut at the Santa Barbara Film Festival.

The entirety of Horizon is an immense endeavor, and once finished, it will undoubtedly feel like a tremendous accomplishment. However, there’s also a significant possibility that it might not materialize at all. Costner has yet to film the subsequent two chapters, and he’s already invested a considerable amount of his own funds into this ambitious venture, suggesting he may require additional financial backers. Unlike many other films divided into parts, Horizon seems incomplete without its entirety; only then can we truly comprehend its grandeur. Most contemporary multi-part epics provide us with the standard three acts before concluding with a cliffhanger to keep us engaged. However, Horizon is distinct. It’s not built on cliffhangers but rather resembles riding a cross-country train whose tracks have yet to be laid, watching as each railroad tie is hammered into place (using another classic western metaphor). It’s captivating, but there’s genuine apprehension that the project may be abandoned midway and we’ll be stranded in limbo.

The second chapter of “Horizon: An American Saga” is exceptionally compelling, yet in a sense, it leaves us hanging more than the first. While it’s superb, it still feels unfinished. It broadens the emotional narrative without providing any substantial resolution or conclusion, which paradoxically heightens our eagerness for what follows. The initial installment set and concluded with two massacres to underscore the perpetual cycle of retribution in western expansion. This new chapter seems to be marked by a succession of senseless and brutal deaths, implying that the corruption has been inherent all along. It immerses us further into the morass, only to abandon us there.

In the second half of the story, the main character could be seen as the kind-hearted Juliette Proctor (Ella Hunt), who initially struggled to adapt to the rugged lifestyle of the wagon train she and her husband Hugh (Tom Payne) had joined. As the journey continues, Mrs. Proctor finds herself trapped in an unimaginable horror of abuse and humiliation. The apathy of those around her, especially the ill-prepared and underqualified leader Matthew Van Weyden (Luke Wilson), intensifies her suffering. It’s chilling to witness the inaction of seemingly decent people. Costner’s straightforward portrayal of this plotline increases both the emotional impact and the perception that his interpretation of Horizon is far darker than the expected, nostalgic cowboy adventure many anticipated.

In the story, Kevin Costner’s character, Hayes Ellison, finds himself in a unique predicament as he becomes an enforcer at a small settlement, trying to maintain order amidst chaotic circumstances and dealing with unstable individuals on all sides of an imaginary law. Sienna Miller’s Frances Kittredge, who lost her husband and son brutally early in the story, struggles to create a life for herself and her daughter (Georgia MacPhail) in what will eventually become the settlement of Horizon, though it is still developing. Sam Worthington’s character, Trent Gephardt, one of the main characters from the first film, departs early on to participate in another Avatar sequel battle during the Civil War.

For those who thought part one could have been better as a TV series, they won’t be convinced otherwise with this installment. It swiftly moves between its diverse characters and plotlines, but in cinema, intimacy can be just as powerful as grand spectacles – perhaps even more so. As the story unfolds, understanding how each piece fits together becomes increasingly important. This film requires close attention: Costner and editor Miklos Wright cut based on ideas and visual associations instead of traditional narrative breaks. Some viewers might find this confusing, but it’s intentional – the director is intentionally leaving us feeling uneasy, creating a constant sense that something terrible is imminent, which may be a more accurate portrayal of the Old West.

The first chapter left us wanting to know the characters better, but in this second chapter, we delve deeper into their lives. This chapter is like a long, soul-searching night, focusing on individuals who find themselves stranded in their pursuit of a better life. It becomes clear that Costner is not so much aiming for a traditional, grand western (a genre he’s successful in) but rather striving to portray America in its complexities – with its fractured families, its heroes and villains, the lost and the deceitful, and the misguided leaders. Essentially, Horizon is not a single image, but a multi-faceted tapestry. However, whether we’ll ever see this tapestry fully completed is as elusive and dreamlike as the idea of America itself.

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2025-02-10 23:54