Sundance Review: Rebuilding offers a solemn contemplation on the significance of hope.

      Loneliness can be a universal experience. Even when we are surrounded by others, we sometimes feel detached or isolated, caught up in our own thoughts. For some, this sensation stems from devastation—a sudden loss that obliterates everything, leaving behind destruction. Many of us witness such events in the news, feel a sense of sympathy, perhaps contribute financially, and then attribute it to fate's indifference before moving on. In his film Rebuilding, Max Walker-Silverman explores the idea that if loss and destruction are part of life, then healing and renewal must also exist.

      Walkers-Silverman’s films always have a sense of space. Although he has directed only two features so far, several themes and stylistic tendencies can be identified. His debut film, A Love Song, premiered at Sundance in 2022, and both films tell intimate stories amid vast landscapes. This juxtaposition is unsettling; solitary figures set against the expansive Colorado scenery emphasize our smallness in the grand scheme. However, Walker-Silverman does not adopt a nihilistic outlook. Instead, he acknowledges that perspective and those indifferent mountain vistas, asking, “Isn’t that beautiful?” He embraces solitude while reminding us that we are not truly alone; support surrounds us from both family and strangers, if only we reach out.

      In Rebuilding, Dusty (played by Josh O’Connor) faces the loss of his ranch due to a devastating fire. His Stetson scrapes the ceiling of the cramped caravan he resides in at a relief site. With a defeated appearance, he resembles the charred trees that once surrounded his home. He wanders aimlessly like a nihilistic shell, selling off his remaining cattle and grappling with an overwhelming sense of what to do next. O’Connor’s performance is so delicate that he appears likely to break under the slightest scrutiny. Alongside La Chimera, he is establishing himself as a quiet, disheveled figure. Much like Paul Schrader's introspective characters who keep journals, Walker-Silverman creates solitary figures camped out in desolate regions of nature—like Dale Dickey's Faye in A Love Song—existing in tranquil solitude.

      Dusty begins to connect with his young daughter Caliee-Rose (an impressive Lily Latorre), who lives with his ex-partner Ruby (Meghann Fahy), her husband, and her mother Bess (Amy Madigan), who grows marijuana. While Caliee-Rose understands her father's heartbreaking loss, she maintains a lively demeanor full of the enthusiasm typical of children. Like many kids, she tugs at his arm to guide him toward his fatherly responsibilities, providing him with direction and purpose, ensuring he doesn’t retreat completely. She explores Dusty's cluttered camper, her curiosity extending to the other five residences on site. “They’re not real neighbors anyway,” Dusty replies. “Don’t need to bother nobody.”

      Encouraged by his daughter and neighbor Mali (Kali Reis), Dusty gradually integrates with the community of fellow fire victims. The diverse group gathers at a long makeshift dining table between their temporary homes, sharing stories about their losses over potluck meals. Initially hesitant, Dusty eventually requests assistance from a neighbor to fix the water in his camper. Through his interactions with family and neighbors, Dusty starts to open up. Not only does he become more comfortable asking for help, but he begins to offer his assistance in return. The notion that “no man is an island” resonates throughout Walker-Silverman’s work.

      His films are deeply personal and rooted in his home state of Colorado. They evoke the experience of watching a quiet friend create art. The screenplay reflects his own experiences, including his grandmother’s loss of her home to a fire. His characters engage in thoughtful dialogues about loss. “There are things I lost I’ll never remember. That I already forgot. Somehow, I really miss those things,” Dusty reflects while digging through a box with his daughter. Later, Bess states, “You got what you got, and that was always enough for me.”

      Hope stands out as the most significant theme in Walker-Silverman’s storytelling. With Rebuilding, he underscores that after experiencing great loss, it may seem like all is gone. While the harsh realities of life are unavoidable, they are also temporary. In time, we can continue our lives, and to do so, we must cherish those around us and gaze at the sunset, thinking, “sure is pretty.”

      Rebuilding debuted at the 2025 Sundance Film Festival.

      Grade: B