A Review of East
of Wall by Olszyk
Distribution Service: Theatrical
MPAA Rating, R
OSV Rating, Not rated at the time of this review
Reel Rating, Three Reels
Horses are
mysterious creatures. For centuries, they provided the most efficient source of
transportation on land. Humans make bonds with them that are rivaled only by
dogs. They seem to be drawn to broken people, best shown in the 2011
documentary Buck. East of Wall tells a story of such a family of
shattered but undaunted humans. Rarely has a family endured such horrible
trauma, but they not only overcome it but bring others to their feet along the
way.
Tabby
Zimiga (played by herself) raises and trains horses for auction. She is
sensitive and talented although refuses, for undisclosed reason,s to ride her
product. She leaves that to her daughter Porshia (also herself) and the rag tag
group of teenagers who live on her ranch. She has a knack for “bringing in
strays,” kids whose parents are drug addicts or in prison. Porshia also starts
a Tik Tok channel featuring horse antics that gains a significant following.
Included among her fans is Roy (Scoot McNairy), a wealthy rancher who
shows an interest in not only promoting the Zimigas but outright buying their
entire operation. Tabby desperately needs the money but isn’t sure. She pauses
the sale to let Roy live and work with them awhile to see if he understands
their operation.
East of
Wall’s narrative, while true, is deeply rooted in the mythology of
literature. I was reminded of Field of Dreams, You Can’t Take It With
You, and even The Muppet Movie. Roy isn’t a villain. In fact, his
past trauma puts him in a unique position to understand Tabby. However, he is
presenting a Faustian bargain. She knows that, despite his promises, selling
the land and business will mean she no longer gets to make her own decisions
about the horses or their handlers. She will not be free, and freedom has no
price. Even though her kids complain about their quality of life, there is no
going back to Egypt. This is their promised land.
What makes East
of Wall unique is not the story, but the style. This is production straight
out of Italian neo-realism. Director Kate Beecroft lived with the Zimiga family
for three years in South Dakota before taking a single shot. She learned how to
break saddles, shoe horses, and spit like a lady. The two main actresses played
themselves, filmed on their own land. There are no special effects, a minimal
score, and natural lighting. The mise-en-scene is also extraordinary; everything
is dirty, used, and broken. In one scene, Tabby’s mother, babysitting her
grandson, sits him in front of a television set in a trailer littered with toys
and half eaten cereal bowls while she smokes a cigarette. While parents may not
approve, they can appreciate the real struggle.
During his
papacy, the late Pope Francis loved to highlight those “on the margins.” Tabby
straddles that margin, often going far over it. At face value, it would be easy
to judge her as a sinful woman. She has an odd hair style, many tattoos, drinks
too much, and is a single mother. Yet, she exemplifies the beatitudes more than
many priests. Aside from her two biological children, she has seven other
minors living on her property in addition to hired hands. When one of them
skips school, she chews him out. “You know if you stay here, you can’t do
that.” He is silent. “Do you want to stay here?” she inquires. “Yes,” he says
meekly. “That’s why I want to stay.” The young man has never had expectations
or structure. It gives them meaning; taking care of the horses teaches them to
care for others. It’s a rough life where every dollar is stretched to the
limit, but it is a life full of love. It is like the great scene from Monsignor
Vincent, when St. Vincent dePaul needs to place an abandoned baby with a
family. “I don’t want a rich family without children, but a full family with
barely enough for themselves.” He knows such a family will bring grace rather
than resentment.
I have
never understood the appeal of horses. I find them smelly and cantankerous. The
last time I rode one was 2002, and I have no intention of doing it again.
However, after this film, I can appreciate the appeal. This is an animal whose
sole purpose for millennia was the service of man, and some identify with this
vocation. We are all in need of Christ, and we need to be Christ to those in
need. The lamb is the most common Biblical animal metaphor for the Messiah, but
I suppose the equine is not far off.
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