The Cinematheque

War Pony is grit and humour, and it thrives with radical hope. Everything is kind of rundown, worn in a bit, as the characters endure life on the Pine Ridge Rez. From the dirt roads to dirt on the car windows, the sheer authenticity reeks of a Dogme 95 film. These NDN homes are for fucking real. The language of the teenage cast demonstrates the violence of swearing that is both dismissive and survivalist. Their bikes are the new war ponies as they ride fleeing, going after the task at hand, or simply cruising. The dialogue is astute, with lines like ​“It’s not a Mexican thing, it’s a bad man thing” when referring to a thief, or ​“Don’t bring drama into my tipi” as an auntie in the community looks after a dozen boys who need a home. There are profound, intimate Lakota cultural gestures that will take your breath away—as a young fella finds his way, or a small child briefly sings an ancient song. And then there is the entrepreneurial Indigenous teen who only wants to work and support his children and love his girl. From breeding poodles to packaging jerky, he works hard for his mazaska. But when a bad settler rips him off, he seeks revenge. The metaphor of an NDN boy ​“stealing” a settler’s fowl is hilarious—who really is conducting thievery? Directed by Gina Gammell and Riley Keough, War Pony won the Camera d’Or for first feature at the 2022 Cannes Film Festival. —Dana Claxton

War Pony will be introduced by artist Dana Claxton.