Film Review - East of Wall (2025)

      East of Wall, 2025.

      Written and Directed by Kate Beecroft.

      Featuring Tabatha Zimiga, Porshia Zimiga, Scoot McNairy, Jennifer Ehle, Jesse Thorson, Chancey Ryder Witt, Clay Pateneaude, Leanna Shumpert, Brynn Darling, Wyatt Mansfield, Stetson Neumann, Traden Lockwood, Don Gummer Garnier, Renee Mousseaux, Brett Fly Sr., Ryan Caraway, Haley Strode, Lori Ann Reed, Amy Shedeed, Angela Heinze, Tracey Osmotherly, and Janis Schell.

      SYNOPSIS:

      Following the loss of her husband, Tabatha, a young, rebellious horse trainer with tattoos, grapples with financial struggles and unresolved sorrow while providing shelter for a group of troubled teens at her rundown ranch located in the Badlands.

      Set against the backdrop of the Dakota Badlands, filled with rodeos and horse auctions—marketed through TikTok—Kate Beecroft’s East of Wall captivates with remarkable authenticity and immersion. A key factor in this achievement is the film’s leisurely-paced nature, resembling docu-fiction, which emphasizes the strained relationship between mother Tabatha Zimiga and her teenage daughter Porshia, both portraying fictionalized versions of themselves. Their performances resonate with genuine emotion, making their interactions feel deeply authentic.

      The search for realism extends to the diverse range of supporting characters surrounding the pair, often fellow riders or the wayward teens Tabatha has taken in, who often share their actors’ names. Notably, there are traditional actors involved, including Jennifer Ehle as a tough, yet caring grandmother, contributing to the generational aspect of the family dynamics. This grandmother has a memorable exchange with Porshia that humorously captures these dynamics: “good talking to you, baby girl, now f***off.”

      East of Wall also communicates much about its characters through compelling visuals (including aerial shots of the rugged terrain and pits within the Badlands), aesthetic choices, and a musical score (by cinematographer Austin Shelton and composers Lukas Frank and Daniel Meyer O’Keeffe). This encompasses a variety of horse-riding footage showcased through TikTok clips, impressive poses performed to highlight their calmness and suitability for sale (similar to Tony Hawk’s Pro Skater, but with horses), the unsupervised antics of the teens that reflect their specific environment, and the similar hairstyles of Tabatha and Porshia (one side shaved, keeping length on both sides) in different colors, signifying their similarities even amidst conflict.

      Some time ago, Porshia’s father tragically died at a young age, and the repercussions of this loss still echo through their family. Tabatha has ceased riding and focused solely on selling horses to support the ranch, avoiding discussions about her late husband, while her other children frequently visit his grave. Simultaneously, Tabatha is taking care of a newborn with her partner, Clay (Clay Pateneaude). As for her horse-selling venture, it’s flourishing, as she is skilled at diagnosing, treating, and taming horses. One could view the many troubled teenagers she takes in as a metaphor for the horses, reflecting her ability to nurture and revitalize broken spirits.

      Despite her modest success, Tabatha is not regarded with the same reverence that a man in her position might receive. Scoot McNairy’s character, Roy Waters, highlights this when he offers to buy the ranch, assuring her that she will retain control and can continue living there. Naturally, she contemplates the nobility of his intentions. While Roy seems genuine and bears his own trauma, there are hints of insecurities, suggesting he might leverage the situation for personal gain.

      This subplot is the most recognizable aspect, giving Tabatha and Porshia a common ground as they navigate their conflict, sorrow, and grief (with Tabatha expressing hers externally while Porshia internalizes it). The real-life circumstances of this mother-daughter duo are not the focus, yet they facilitate raw and emotional interactions, where both characters struggle to reveal their feelings, fearing that vulnerability would signify weakness in their harsh upbringing.

      East of Wall reaches its most emotionally resonant moments when mother and daughter blur the lines between reality and fiction. This experience feels less like watching a film and more like witnessing a community that is often overlooked onscreen or stereotyped when present. It beautifully captures a slice of contemporary Western life.

      Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★ ★

      Robert Kojder