Andrew Patterson’s second feature is an un-bee-lievable joy that establishes him as an important filmmaking voice
It feels like an eternity since The Vast of Night made its thunderous debut at Fantastic Fest 2019. The film’s rapid-fire dialogue, intricately detailed small-town setting, and innovative approach to what not to show as much as what is depicted instantly established Andrew Patterson’s first feature as a landmark opening shot. His announced follow-up, The Rivals of Amziah King, illustrated how Vast of Night served as an effective calling card for greater talent, featuring an ensemble that includes Kurt Russell, Tony Revolori, and Cole Sprouse alongside Vast veterans Jake Horowitz and Bruce Davis, anchored by a return to leading roles for Matthew McConaughey. If the film’s rapturous premiere at SXSW 2025 is any indication—complete with a 5-minute standing ovation for the director himself—Andrew Patterson’s two features have positioned him as a distinct cultural talent.
Set in the wild riverways of present-day Oklahoma, The Rivals of Amziah King follows McConaughey’s titular beekeeper by day and bluegrass musician by night through a wandering narrative that explores how his charisma and kindness remain a critical lifeblood of his rural community. A chance reunion with his foster daughter, Choctaw native Ketari (Angelina LookingGlass), inspires Amziah to bring her into the fold as a successor to his carefully built honey empire. Despite all of Amziah and Ketari’s local goodwill, however, more powerful enemies like farming multi-magnate Dob McCoy (Kurt Russell) lie in wait for opportunities to destroy everything Amziah and Ketari hold dear.
While I had high expectations for Andrew Patterson’s sophomore feature, I never imagined it would deliver the impactful joy that this film provides. The Rivals of Amziah King harkens back to the verbose, unabashedly emotional, and briskly paced character studies of Sam Peckinpah and Robert Altman—films largely ignored by modern studios yet deeply craved by audiences eager for quality storytelling and memorable characters. It unfolds as a sprawling, intimate, and entirely unpredictable epic, the kind of movie that sets your heart on fire.
What’s more–what makes The Rivals of Amziah King truly indelible is its active resistance to easy genre categorization, defying traditional norms of genre and pacing to thrive in the richness of its vivid portrayal of a vanishing way of life. At first glance, it immerses you in the magical, whimsical wonder of Mud or Beasts of the Southern Wild, before its brutal, gothic turns evoke the Coen Brothers’ grimly comic darkness as seen in Blood Simple or No Country for Old Men. However, a more apt comparison would be O Brother, Where Art Thou. Amziah King is very much a musical featuring heart-stopping communal Bluegrass numbers; it opens with a barnburner of a dueling banjos performance by McConaughey and Owen Teague, set in, of all places, a drive-thru chicken fried steak sandwich shack. There’s also room for revenge thrillers, action-packed heists, Spaghetti Western showdowns, and so much more.
It’s not quite accurate to label Amziah King as a magpie film, mixing a Tarantino-esque array of influences into a genre remix. Instead, Patterson draws from lived experiences of Americana–potluck anecdotes, or those random sidewalk characters whose faces get etched in your memory in an instant. Sure, they’re seen through a genre lens, but their authenticity allows Amziah King to intentionally break away from any preconceived notions of what a film like this might or should be. Patterson and writer James Montague lead audiences bravely into the story they wish to tell, one full of unrestrained emotion, remarkable patience, and an astonishingly refreshing amount of heart.
Thanks to Patterson and Montague’s tonal versatility, we can never quite pinpoint our location in Amziah King’s runtime. Patterson approaches each intimately chaotic moment with the impact of a significant climax. Whether it’s extracting a swarm of bees from an ill-fated elementary school or salvaging the bloody scalp of an innocent bystander from the grasp of a massive honey extractor, every unexpected sequence mines the monumental from the mundane, revealing insights into the emotional connections that unite individuals and communities with a broader cosmic whole. It discovers passion and joy in bonding with nature, the “third spaces” that communities create for each other outside work and home, and a sense of spiritual freedom that seems to have faded in the more urban parts of the country. An extended diatribe about potluck dish etiquette feels both hilarious and profound.
With McConaughey’s wizened glee charging each moment, we can’t help but be swept up in whatever journey Amziah takes us on–especially in the film’s standout sequence, where Amziah places Ketari at the center of an impromptu jam session with his gang of musical misfits. Like many of Amziah King’s most beautiful moments, it strikes like a bolt from the blue. While we start out nearly as nervous as LookingGlass’ Ketari, Patterson and McConaughey gently encourage us to give ourselves over to the experience.
It’s one carefully labored over by its behind-the-camera craftspeople. M.I. Littin-Menz’s cinematography captures the late-night sodium glow of The Vast of Night while eagerly uncovering breathtaking, sunlit vistas dotted with busy honeybees. Patrick J. Smith’s editing indulges in Peckinpah-esque stopped time, bobbing and weaving between shots before freezing the frame just as your heart catches in your throat. Lastly, this soundtrack is instantly iconic, featuring selections from Ben Hardesty’s discography, along with majestic riffs by composers Erick Alexander and Jared Bulmer, augmented by a surprising musical cameo by Michael Trent and Cary Ann Hearst of The Films and Shovels & Rope fame. It’s the kind of album you instantly want in your record collection, brimming with the same spark of life found in everything these characters do.
McConaughey leads a wonderfully eclectic ensemble that combines famous faces with those we swear we recognize. As the star noted in our intro, “I know exactly who that is, I know exactly where they’re from, and I sure do like hanging out with them.” To the credit of both the performer and director, McConaughey and Patterson know precisely when to seize the spotlight for their craft while also allowing time for other performers, such as Bruce Davis, Rob Morgan, and musician Ben Hardesty, to make singular, rousing impressions on viewers.
Angelina LookingGlass, however, is a revelation as Ketari, who comes into her own as Amziah’s chosen successor, embodying all the ruthlessness and benevolence that such a position requires. Patterson captures her resolve with reverent awe, seamlessly shifting the episodic narrative to Ketari’s clever schemes to reveal and rectify the unseen threats against her. Where her enemies wield wealth and physical force, Ketari possesses a cultivated community, profound knowledge of the land, and Amziah’s near-infinite compassion, all of which hold a far more potent elemental power.
Even as the narrative shifts into darker, more challenging territories that stand in stark contrast to the free-spirited whimsy and joy of the film’s first half, The Rivals of Amziah King never loses its sense of heart. It doesn’t propose taking the high road or engaging in dignified, noble actions. It finds valor in vengeful midnight hive thefts just as much as it does in rallying a community’s last dollars to help the little guy win at auction against the powerful. This direction not only reveals the limits of Amziah’s selfless sense of community but also showcases why it’s something to treasure and protect at all costs. Revenge is as sweet as honey, yet just as difficult (and in some cases, nearly lethal) to extract.
The Rivals of Amziah King had its World Premiere at SXSW 2025. It is currently seeking distribution.
