In Martin Scorsese’s Killers of the Flower Moon, Lily Gladstone made a deep impression with her stillness and controlled presence. This is different; in a fiction-feature debut from Native American documentary-maker, Gladstone’s performance is looser, more open, less reserved. Simply put: she does more acting, and gives strength and substance to a dense, knotty family drama which though maybe anticlimactic in the final act – and too reliant on a handgun plot-point – is fluent and heartfelt.
Now Frank and Nancy are stopping by Jax’s home, supposedly to be friendly, to “check in on her” – but actually, Jax suspects, to suggest themselves as more appropriate foster parents for young Roki, because though Frank and Nancy are not going to say it out loud, Tawi was involved in some shady stuff that could have caused her disappearance, and Jax may well vanish the same way.
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