SXSW FILM REVIEW: Border drama Deadland adds supernatural tension to the politics.
attempts to humanize the new generation of border patrol agents. This particular station house, in the middle of nowhere, is generally dealing with the occasional wandering migrant, or a kid who they just send back home to save on paperwork. This is law enforcement as bored bureaucracy, with no one really paying attention to how the job is done.
Along with fellow officers Salomé Veracruz and Ray Hitchcock , Angel labors under a maudlin and despairing weight that crushes down on this stretch of the border, unchanging as it is. The physical place, that is: enforcement has clearly changed over time, as their weary blind-eye-turning proceduralism is a far remove from the good-old-boy brutality of some old schools cops who turn up from Internal Affairs.
That's the underlying tragedy of Larson's script, cowritten with David Elliot and veteran cinematographer Jas Shelton : that, whether by choice or by accident, terrible things happen, and how we deal with them is the difference between a crime and a tragedy. There's a supernatural underpinning to the story, one that increasingly clearly connects the two migrants, Angel, and those old school enforcers.is a weighty film, one in which truths and secrets are often delivered in measured, hushed tones. It's an unrelenting border noir whose understated delivery and brooding sensibilities really benefit by being leavened by those occasional fantastic elements.
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