As a devoted cinephile who has spent countless hours immersed in the world of film, I have been captivated by the recent emergence of films that explore the complexities and nuances of marginalized communities in the American West. One such film that stands out to me is “National Anthem,” directed by Luke Gilford and featuring a standout performance from Charlie Plummer.
This article was originally published on March 13, 2023 out of the South By Southwest Film Festival. We are recirculating it now timed to National Anthem’s theatrical release.
In the world of films, you may have heard about the “horse girl,” but now there’s a new discovery in Hollywood – a “horse boy” named Charlie Plummer. Last seen in the moving drama “Lean on Pete” by Andrew Haigh (2018), Plummer portrayed a quiet Oregon teenager who sought refuge from his troubled home life at a local racetrack and discovered a sense of belonging. In his latest project, “National Anthem,” premiered at South by Southwest, Plummer stars as a 21-year-old living in rural New Mexico, where he stumbles upon a unique community – a queer rodeo group.
In “Lean on Pete,” Plummer doesn’t physically ride a horse but finds independence inspiring through horses and their caretakers. In contrast, he falls off a horse in “National Anthem.” However, what truly matters goes beyond the stable: a found family that accepts Plummer (despite his mother’s absence, played by Robin Lively). These outcast films modernize Western traditions with an inclusive twist, featuring stunning landscapes once associated with rugged masculinity. This exquisite SXSW entry, unlike the Lana Del Rey song “National Anthem,” doesn’t include that particular tune but boasts a beautiful soundtrack from Perfume Genius, Angel Olsen, and Mazzy Star.
Luke Gilford, a 36-year-old photographer and filmmaker with a debut feature film titled “National Anthem“, gained recognition for his striking images documenting queer rodeo culture in New Mexico, Texas, California, and beyond. His most notable image showcases two men atop a horse wearing only cowboy hats, encapsulating the essence of his work. Gilford has also worked on magazine shoots featuring Andrew Garfield, Lil Nas X, and Jane Fonda, and directed music videos for artists like Troye Sivan, Kesha, and Blood Orange. With a strong background in rodeo iconography from growing up in Colorado with a champion father, Gilford is poised to become the next big name in indie filmmaking, following in the footsteps of directors such as Haigh, Sachs, Arnold, and Zhao.
Gilford chose wisely in Plummer as his inspirational muse; Plummer’s understated gaze craves life’s adventures. In “All the Money in the World,” Plummer portrays Dylan, a construction laborer who assumes the role of caregiver for his younger brother (Joey DeLeon) while their mother is away. His colleagues mock him as a pretty boy, and he has few companions. However, Dylan’s fortunes change when he lands a job fixing things up at a ranch named House of Splendor. There, he encounters Sky (Eve Lindley, who recently appeared in “Bros” and “Dispatches from Elsewhere”), an equestrian involved with the ranch’s brooding leader (Rene Rosado from “The Conners”). Instantly drawn to Dylan, Sky introduces him to the world of drag and psychedelic mushrooms, provides him a sense of belonging, and supports his dream of purchasing an RV so he can journey across the country.
As a cinephile with a soft spot for art-house films, I’ve noticed a recent fascination with rodeos and cowboy culture in the cinematic world. I’m thrilled to add National Anthem to this intriguing trend, which includes films like Zhao’s The Rider, Jane Campion’s The Power of the Dog, and Jacques Audiard’s The Sisters Brothers. These movies delve deep into the masculinity that is often associated with Western landscapes.
The National Anthem provides a new and refreshing setting for the familiar rites of passage in coming-of-age stories. In this House of Splendor, the characters’ gender identities and sexuality are not explicitly stated, creating an inclusive environment where everyone feels safe from being stereotyped or tokenized. Gilford and cinematographer Katelin Arizmendi expertly capture raw emotions through close-up shots and use wide shots to beautifully depict the vibrant surroundings. Splendor is a bohemian paradise hidden among the desert, deliberately distancing itself from the mainstream as a form of rebellion. Despite its idyllic nature, this utopia isn’t immune to heartache.
This is only one part of Dylan’s story. After “National Anthem” ends, there’s more to come. When Mason Alexander Park, a nonbinary drag performer, invites Dylan to stay permanently at Splendor, he declines, recognizing that he’s merely passing through. He’s never truly felt belonging before, and it seems he’ll continue his search for that sensation as he enters his twenties. Meanwhile, Dylan’s new acquaintances have already found their footing in life. It’s now Dylan’s turn to discover his path.
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2024-07-22 19:23