Review of The Mustang (2019) by Markhreviews — 15 Apr 2019

It’s refreshing to watch a film brimming with self-confidence – no need for elaborate CGI, no need for excessive carnage, for cartoon characters or for dialogue that’s overwrought and over-written. “The Mustang” is a spare, almost austere, story, but one that captivates from start to finish. At a running time of ninety-six minutes, the movie has the self-confidence to fully develop a single story and stop when the story is done.

“The Mustang” is based on the Wild Horse Inmate Program, which exists currently in six states in the US. In this program, wild mustangs are brought to prisons, where prisoners are taught to care for the horses, bond with them and eventually get these magnificent wild animals to accept a saddle and human direction. After an intensive twelve-week program, these horses are sold at auction, often put to work with Border Patrol agents, local police departments or private owners. The revenue created from these sales makes the program self-sustaining.

In the hands of Writer/Director Laure de Clermont-Tonnerre, a French filmmaker making her feature film debut, this program also is a powerful metaphor. In the same way that the survival of these mustangs depends on the horses’ ability to accept changes in order to co-exist with encroaching civilization, so also must the inmates learn to modify their inclination to react violently whenever they feel threatened. This metaphor is drawn a little too directly at times, but that does not distract from the film’s powerful point.

The success of “The Mustang” is based on four elements. First, this film is based on an intelligent script that respects its audience. Roman Coleman, the film’s central character, is allowed to breathe, grow, learn and develop without constant exposition to make sure the audience is keeping up. Second, Belgian actor Matthias Schoenaerts as Coleman is fabulous. In his previous work (including 2012’s “Rust and Bone” and 2015’s “A Bigger Splash”), Schoenaerts has portrayed compelling, generally sympathetic characters. Here, he inhabits an initially unappealing character - a dead-eyed stare of indifference, a tendency toward impulsive violence, the brief statement “I’m not good with people” - while still keeping the interest and sympathy of the audience, no small feat. Third, the supporting cast is stellar. At age 82, Bruce Dern is excellent as the manager of the prison’s mustang program. In two short scenes, Connie Britton is compelling as the prison psychologist. Gideon Adlon, daughter of veteran actor Pamela Adlon, is equally good as Coleman’s daughter. Finally, the shots of the Nevada desert, integrated throughout the film, add a physical context that is simply breath-taking.

“The Mustang” is not a film for impatient viewers requiring instant gratification. Like many excellent films, it’s a slow burn that leaves a long-term impression.