,” a loose yet engaging adaptation of Pacific Northwest chronicler Jon Raymond’s novel “The Half-Life” — which, according to the director, was the book that made her want to work with him in the first place.
There’s one in the opening scene: Alia Shawkat plays an anonymous young Oregonian — let’s call her Wendy — who’s walking her dog in the woods, when the animal finds a bone. Turns out, it’s a human cranium, long abandoned and only half buried. Lucy wanders off, while Wendy kneels and starts to brush away the surrounding dirt, slowly , to reveal two skeletons, both male, lying side by side, holding hands.
With “First Cow,” we could just as easily muse on the fact that this 21st-century hiker has chosen this afternoon to venture out into the wild, looking for … what? Most likely, she just wanted to escape her modern life for a few hours, to get away from the traffic, ignore the telephone and lose herself in nature.
At first, Cookie assumes this exotic-looking man is a Native American, only to discover that he’s in fact Chinese, a sailor named King-Lu, on the run from a group of Russians, and desperately hungry. Cookie could easily turn him in, but instead chooses to assist King-Lu, establishing in that instant a connection that blooms when the two men are reunited a short time later at the trading post, a makeshift community with precious few women — and even less in the way of livestock.
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