Chivas DeVinck’s second feature-length doc touches down in flyover territory to spend time with the locals, some of them fighting to preserve their way of life.
The onscreen events unfold in early 2020. People are starting to talk about COVID, there are one or two passing references to the upcoming presidential ballot, andis playing at the Central in Ely, a single-screen theater with a vintage Motiograph projector whose receipts probably matter little to box office prognosticators. .
The area’s ghost towns, of which there are many, aren’t part of DeVinck’s mosaic; though he does touch on the historical record, he’s concerned with the people who carry it into the here and now.
He begins with a small-town version of Wiseman-esque municipal procedure, as the five county commissioners, conducting their regular public meeting in the library, hear one resident’s tearful testimony about dying elm trees and discuss whether to enforce a dog-license requirement. Questioning the need for such a canine registry, one commissioner cites “a freedom/liberty perspective,” and his only female colleague bristles.transcend party-line orthodoxies and animosities.
Tracing the region’s history as she looks at a map, Delaine Spilsbury, an elder in the Western Shoshone tribe who’s another key member of that anti-pipeline coalition, shares the family story of how her grandmother was orphaned as a child when all the elders in her village were slaughtered by white settlers. The Mormons who adopted the parentless children made them household servants before shipping them off to the so-called Indian schools that aimed to strip them of their language and culture.
It’s a varied and rich rural portrait that the film paints, though a few pieces, particularly toward the end, could have used more time and attention. Félicia Atkinson’s score, moving from jazz-inflected riffs to ethereal stretches, is an essential component, helping to tie together seemingly disparate fragments with a haunting sensibility.
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