*article contains spoilers for the plot of War Pony
Exclusively in UK Cinemas June 9th, 2023
"War Pony" (2022) is an extraordinary film that immerses viewers in a world of profound symbolism and masterful storytelling. It marks the brilliant debut of filmmaker and actor Riley Keough, who co-directs the film alongside Gina Gammell. Set against the backdrop of a Native Reservation and a Western society built against them, the movie follows the lives of two Ogala Lakota youth, 23-year-old Bill and 12-year-old Matho. Filmed on the Pine Ridge Reservation, the ancestral land of the Oceti Sakowin and Tongva Peoples, home to the Ogala Lakota communities.
Bills' journey revolves around his pursuit of the elusive "American Dream." Before embarking on this quest, he encounters a vision of a bison, a powerful symbol of the devastation wrought by colonialism. The bisons' extinction in the late 1800s represents the decimation of Native resources and the loss of freedom and harmony in nature. Through the juxtaposition of the bisons' disappearance with the harsh reality of reservation life, the film highlights the Native peoples' deep connection to their land, constantly threatened by the violence and destruction from Western colonisation to this day.
The film delves into the subtler and more insidious forms of modern colonisation, shown through Bills' relationship with a white man named Tim. Tim manipulates Bill, driven by his ulterior motive of exploiting Indigenous women for sex. The interactions between Bill, Tim, and Tims' wife Allison shed light on the power dynamics of ignorance, racial insensitivity, and cultural appropriation. Their conversations around white appropriation of Indigenous sacred dress and objects (ie, the dreamcatcher) and the white mans'control over Indigenous people in employer/employee contexts, highlights the continuing impact of colonialism in the present day. Tim initiates Bill into the world of wine-drinking, seemingly a gesture of sophistication, serving as a poignant reminder of the historical and ongoing efforts to ensnare and destroy Indigenous communities through the introduction of drugs and alcohol.
We encounter Matho, a character whose turbulent journey encapsulates the raw struggles of adolescence as he battles to mature and win the approval of his abusive father. Mathos' experiences are deeply entwined with themes of stolen innocence, the vilification of Indigenous youth, and the fractured dynamics of a broken family unit—a painful legacy rooted in the intergenerational trauma and genocide borne out of colonialism. From the outset, we witness Matho and his friends find his fathers' stash of drugs, setting the stage for a harrowing exploration of their desensitised relationship with substance abuse—a sombre reflection of the harsh realities faced by Native youth living on the reservation, where childhoods and innocence are brutally cut short.
Matho finds himself banished from his home after being beaten by his father, driven by his desperate pursuit of the drugs to sell. Seeking refuge, he is taken in by a seemingly supportive woman ("Auntie") from the Native community, only to discover her sinister intentions: exploiting children for the illicit drug trade and plying them with coffee to keep them working. Matho becomes entangled in this web of exploitation, continuing to sell drugs under the womans' manipulative grasp. However, his already precarious situation takes a turn for the worse when he is caught selling drugs at school, leading to his apprehension by security and subsequent expulsion orchestrated by the woman, who seeks to avoid attracting unwanted attention. The image of a security guard, escorting a vulnerable young Matho down the school corridor, serves as a haunting reminder of the adultification bias thrust upon Native children—an unjust assumption that deems them inherently delinquent, warranting heightened security measures even within the realm of education. This poignant depiction further exposes the perpetuation of a destructive cycle—yet another manifestation of the Western genocide inflicted upon Indigenous peoples, forcefully thrusting them into premature adulthood while vilifying their innate innocence.
Indigenous exploitation, an underlying thread skillfully told throughout "War Pony," reverberates in both Bill and Mathos' stories. While Bill is callously exploited by Tim as a means to procure Native girls from the reservation—an overt abuse emblematic of the archetypal colonizer—Matho encounters exploitation from within his own community. The womans' callous treatment of Matho and his peers reduces them to mere pawns in her drug-trafficking enterprise, easily discarded at a moments' notice. Mathos' subsequent banishment following his suspension for drug-related activities exemplifies her callous disregard for his worth, viewing him solely as a disposable cog within her money-making scheme.
However, despite their harrowing experiences, both characters move in their journies to find the strength to reclaim their identities and overcome abuse and exploitation. The theme of transcending resilience resonates throughout the film and is embodied in the scenes and visions of the bison. When Bill and Matho regain control over their lives, the powerful creature appears, signifying their empowerment and renewal.
In a climactic turn of events, Bill, fueled by his righteous anger after being denied rightful payment for his labour, rallies his friends and fellow Native characters from the film in a daring act of rebellion against Tims' factory. This powerful sequence, presented in a montage, showcases Bill and his comrades reclaiming what is rightfully theirs from the clutches of the oppressive white man. Accompanying this pivotal moment is the resonant and popular melody of "Come and Get Your Love" by the acclaimed Native rock group Redbone, whose song carries profound significance. While the rest of the film predominantly features non-Native music, the inclusion of Redbone's track stands as a poignant symbol of Bills' liberation from the shackles of white assimilation and his triumphant reclamation to his Indigenous identity.
The film brings the two characters together when Matho, in his desperate search for food, encounters Bill at his house. Instead of berating or attacking the young boy, Bill offers compassion and prepares him a meal. This compassionate act bridges the gap between their separate lives, creating a beautiful moment of brotherhood and friendship amidst the turmoil they both face.
After finding refuge in the care of Bill, Matho finally finding solace and respite as he rests at Bills' house. As he drifts into much-needed slumber, the airwaves carry again the uplifting song "Come and Get Your Love." In this moment, he awakens to a majestic bison silently passing by his window. This extraordinary encounter serves as a profound metaphor, representing their rediscovery of Indigeneity and the transformative journey toward adulthood.
Beyond its remarkable artistic merits and captivating storytelling, "War Pony" carries a resounding universal message, one that compels us to comprehend and empathise with the ongoing struggle faced by the worlds' first peoples. Their battle to safeguard the Earth, its precious resources, and all living beings is intertwined with the exploitation endured by Indigenous communities. It is a stark reminder that the exploitation of Indigenous peoples mirrors the exploitation of the land itself, an act of self-destruction perpetrated by humanity. On a deeply personal level, the film imparts a timeless wisdom, echoing the plight of all individuals, urging us to stay true to ourselves, honour our histories, and never give away our power to anyone.
As a human rights NGO committed to protecting and promoting Indigenous and environmental rights, we particularly want to emphasise those Indigenous lives whose perspectives and stories have given life to this extraordinary film.
We also express our appreciation to Riley Keough and Gina Gammell for their collaborative work with this community in bringing this important work of art into existence. Through their shared vision led by Indigenous perspective and leadership, "War Pony" serves as a powerful catalyst for dialogue and action, igniting a collective awakening in listening to the Indigenous stories and moving us all to stand in solidarity with Indigenous communities worldwide. Support these stories and watch the film!
Authors: Olivia Ronan and Alicia Kroemer
Editoral: Lowri Harris
WAR PONY opens in UK & Irish cinemas on 9th June 2023. For more information head to http://warpony.film/
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