No doubt inspired by Chloé Zhao, Kate Beecroft’s directorial debut dubbed a work of “Docufiction”, just premiered at Sundance and it’s a fresh and powerful look at a vanishing slice of Americana, horse ranching, but from a female perspective. While traveling the US looking for a subject for her first feature, Kate happened upon Tabatha Zimiga’s South Dakota ranch, where on 3,000 acres she takes in delinquent and wayward teens and teaches them how to break and train horses, which the ranch then sells to sustain itself. Kate spent three years, not only learning how to cowboy, but began teaching the children and Tabatha how to act, for her script she planned to write, inspired by her time with them. It’s a heartfelt story of struggle and how one woman attempts to break the cycles of abuse and poverty in her rural community.
East of Wall stars the very real cowgirl Tabatha, a tattooed powerhouse of a woman, along with her real children, real ranch folk and supplemented by a few actors who are charged with bringing this story of the New West to life. The film has Tabatha still struggling with the aftermath, a few years after the suicide of her husband, she’s taken a step back from training and riding horses and because of that the ranch is beginning to run out of cash. Well known for turning out some of the best trained horses in the US, in comes comes wealthy Texan Roy Waters (Scoot McNairy), who makes an offer to buy her ranch and bankroll her operation, but at a cost of her independence and losing her husband’s final gift to her and her non-verbal son.
It’s a conundrum that allows Kate to highlight and explore not only Tabitha’s unique and selfless way of life, but her ranch’s mission and commitment of allowing these troubled teens, who are mostly girls, to find a way out and a positive outlet in their impoverished community. Their possible fates are something that’s hinted at, until Tabatha and the other women from the community at her Mother’s birthday party share their experiences of existing in the hyper masculine and world of ranch life. It’s these kinds of more melodramatic moments that are weaved seamlessly in with the slice of life, day to day montages of the kids riding, playing and training with the horses, that I found gave the film a sincerity and authenticity you don’t see often.
What Kate has managed to do here with this film is capture and present Tabitha’s selfless spirit and way of life for all to see, without having to soften or dull her edges one bit. It’s a story that’s uncompromising and courageous, just like the film’s subject – that from the post-film Q & A we discovered is not far from the truth. East of Wall is a commanding and assured debut that shows a deft hand not only behind the camera with both non-actors, but with seasoned professionals who turn in some truly intimate and engaging performances. Like Nomadland, East of Wall is a stirring glimpse of the American spirit and its relentless perseverance in troubled times.
