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Wind River (2017)

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A veteran tracker with the Fish and Wildlife Service helps to investigate the murder of a young Native American woman, and uses the case as a means of seeking redemption for an earlier act of irresponsibility which ended in tragedy.

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41 ( 17)
8 wins & 9 nominations. See more awards »
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Cast

Cast overview, first billed only:
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Natalie
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Wilma
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Apesanahkwat ...
Dan Crowheart
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Ben
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Alice Crowheart
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Dr. Whitehurst
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Annie
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Sam Littlefeather (as Tokala Clifford)
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BIA Officer #1 (as Shayne Joel Cullen)
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Storyline

WIND RIVER is a chilling thriller that follows a rookie FBI agent (Elizabeth Olsen) who teams up with a local game tracker with deep community ties and a haunted past (Jeremy Renner) to investigate the murder of a local girl on a remote Native American Reservation in the hopes of solving her mysterious death. Written by CAF2042

Plot Summary | Plot Synopsis

Taglines:

Danger comes with the territory. See more »


Motion Picture Rating (MPAA)

Rated R for strong violence, a rape, disturbing images, and language | See all certifications »

Parents Guide:

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Details

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Release Date:

18 August 2017 (USA)  »

Also Known As:

Veju Upe  »

Filming Locations:

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Box Office

Budget:

$11,000,000 (estimated)

Opening Weekend USA:

$161,558, 6 August 2017, Limited Release

Gross USA:

$33,800,859, 7 December 2017
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

The 45-70 is an older cartridge developed in 1873 for the US Army. It is still in use, often in antique rifles and replicas. For this reason, commercial ammunition manufacturers keep the pressures low for safety. Cory carries a modern version of the 45-70, a Marlin Model 1895SBL fitted with a telescopic sight, while hunting the mountain lion. That explains the scene showing Cory hand-loading his 45-70 ammunition. He is making a cartridge with significantly higher pressure than he can get in a commercially manufactured round. His loads have more velocity and greatly improve ballistic performance. See more »

Goofs

During one of the final views of the body during the autopsy scene, the body is clearly breathing. See more »

Quotes

Cory Lambert: I'd like to tell you it gets easier, but it doesn't. If there's a comfort, you get used to the pain if you let yourself, I went to a grief seminar in Casper. Don't know why, just, It hurt so much, I was searching for anything that could make it go away That's what I wanted this seminar to do, make it go away. The instructor come up to me after the seminar was over, sat beside me and said, "I got good news and bad news. Bad news is you'll never be the same. You'll never be whole. Ever. What was ...
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Soundtracks

Feather
Written by Garrett Sale
Performed by William Wild
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User Reviews

 
Taylor Sheridan depicts another dilapidated region of America
30 August 2017 | by See all my reviews

If you've seen any of Taylor Sheridan's previous work, you probably noted that he has a certain style. He tells stories about ways of life in dilapidated regions of the country. He blurs the lines between "good guys" and "bad guys," instead framing the status of the selected region as the truest villain. What's right and wrong, considering all the unique variables of each story, is not always clear. At least, that was case in Sicario and Hell or High Water.

In Wind River, the region is still presented with all the strain that is causes on the lives of its residents, but a much more obvious villain is revealed before the movie is over.

Hell of High Water frames the crumbling economy of a certain Texas region as the real source of evil, rather than any characters. Whereas in Wind River the source of evil is definitely the rapist. I mean, the rapist attempts to blame the cold and silence, but his actions were clearly much worse than bad weather.

Sheridan's previous films also left doubt about who were the heroes, who the audience should be rooting for. This time it was much less ambiguous—they were the people searching for the rapist.

An emerging theme in Sheridan's movies appears to be Tarantinoesque eruptions of violence, sometimes near the conclusion. They don't always reach the levels of the Django Unchained shootout, but Sheridan clearly isn't shy about showcasing the unforgiving damage that can be inflicted by firearms.

Complaints, I have a few. On more than one occasion, I legitimately could not understand what a character had said, so I was left wondering if I missed something important. I'm not sure if this manner of speaking was a choice made by the actors or if this was a decision made by Sheridan to establish a certain tone. Either way, I could have used less mumbling.

The other complaint that I have, and this is more serious, the middle third of the movie felt like it contained a lot of empty moments. This may or may not have been related to the times that I couldn't understand what a character said. Still, the movie could have used a bit of its fat trimmed. It wasn't as crisp and clean as Hell or High Water and Sicario. And I know I keep comparing this movie to Sheridan's others, but that's bound to happen when a writer sets the bar so high with two gems.

On the whole, I consider this a success for Sheridan in his directorial debut. I'd happily watch another story of his about justice and an overlooked culture.


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