Hostiles: a meta reflection on the contemporary western [critique]

On a classic basis, Scott Cooper reflects on the contemporary relevance of Western themes.

How to be a filmmaker of the seventies in the 21st century? This is the big question of Scott Cooper’s cinema, which continues in Hostiles (released in 2018 at the cinema, back on France 3 at 9:05 p.m.) his work as an applied copyist, after having erected a country totem with the icon Jeff Bridges (Crazy Heart), muted remake Journey to the end of hell (The Infernos of Wrath) and tried his hand at the mafia fresco (Strictly Criminal, with Johnny Depp as Willy Wonka of organized crime). Tale of the geographical and moral development of a former Indian killer (Christian Bale, very concentrated) who will gradually revise his judgment on the borders between savagery and civilization, the film reflects on the great figures of the genre by compiling them: the Cavalry Captain Joseph Blocker echoes Ethan Edwards of The Prisoner of the Desert qu’au Jim Dunbar de Dancing with the wolves.

Scott Cooper: “I was fascinated by Johnny Depp’s transformation for Strictly Criminal”

Forever young
But, beyond the fetishistic temptation, Cooper intends above all to question the contemporary relevance of the genre, at a time of political correctness and intersectionality. Over the course of his journey, Blocker will gradually form a new community made up of women and Indians, and will change as this alternative micro-society is formed. A bit like Clint Eastwood’s Josey Wales, yes. Where we realize that the socio-political questions of the New Hollywood counter-cultural western were exactly the same as they are today. How to be a filmmaker of the seventies in the 21st century? By demonstrating that the western is eternal, for example.

The trailer forHostiles :

Antlers: terrifying first trailer for this Scott Cooper film

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