A story of life on an Indian reservation in Ontario: Silas and Frank are trying to get into college to train to be mechanics but they find themselves having to deal with girls, family ... ... See full summary »
Ryan Rajendra Black,
Shayla Stonefeather, a Native American attorney prosecuting a Lakota teen in a controversial murder trial, returns to the reservation to say goodbye to her dying father. After the teen is ... See full summary »
In South Dakota, in an Indian reservation, an old storyteller Indian asks his grandson Shane, who is in trouble owing money to some bad guys, to take his old pony and him to Albuquerque to ... See full summary »
Nick Thomas, a Pomo Indian and a successful Los Angeles radio host, is forced back to the reservation to help his brother Chi, and tribal leader Rich Knight lead the Tule Lake Rancheria out of danger from a seedy casino investor.
Timothy Andrew Ramos
Mark Boone Junior,
Timothy Andrew Ramos
A Native American Veteran suffering from a series of psychological issues develops a deeply powerful friendship with his progressive French psychoanalyst as they discover and attempt to understand the source of his illness.
Benicio Del Toro,
Seymour Polatkin is a successful, gay Indian poet from Spokane who confronts his past when he returns to his childhood home on the reservation to attend the funeral of a dear friend. Written by
But we did love them. Held tightly to their alcoholic necks and arms as we drove back home. Stole the 6-pack they bought for the road and threw it out the window. Counted mile markers and coyotes standing on the edge of the road. But this is not about sadness. This is about the stories. Those rough drafts that thundered the walls of the HUD house as my sister and I lay awake after we finally arrived home and listened to my mother and father dream. Breathe deep in their sleep and snore like what...
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A film by at least 62 people, Indigenous and otherwise. See more »
At cost of risking the authorial fallacy, I'll say that I took this film to be autobiographical. One advantage of having a talented writer do a film about a talented writer is that, when the protagonist reads his writing, you don't cringe (we should also have first-rate musicians write the score in movies about fictional musicians). In "The Business of Fancydancing" the writing is gorgeous and is what gives the film substance and shining power. Seymour Polatkin/Sherman Alexie's poetry makes up the bulk of the screenplay, whether in the form of actual poems (read by the protagonist or other characters, printed on still frames, or rendered in song), or as part of the dialogue. The film is non-linear and non-realistic: people don't always speak like real people and events don't follow one another in chronological fashion. But Alexie is brutally honest in his portrayal of the truth of his characters, and the film finally feels much more authentic than most made-to-look-realistic, traditional movies. It is one of the paradoxes of fiction that realism is frequently better achieved through non-realistic means.
"Fancydancing" is a wrenching and angry movie about identity, belonging, and race. Leading one's life as a Native American is clearly no easy job, and Alexie takes a very unsentimental look at the ordeals and dilemmas that come with a Native heritage. His characters are not especially likeable, and all make questionable choices. As Alexie makes clear, however, there are no "right" choices. Whether you stay or go, conform or depart, life's going to getcha and people are going to be mad at you.
The poetry beautifully depicts the pain of this dilemma while at the same time showing the redemption that comes with living the dilemma, sticking with it, not giving in. The images are occasionally hokey, and some sequences could have been cut without any loss to the overall effect of the film. But this is a brave film with a brave, unsparing vision, and it deserves a wide viewership.
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