Right from the beginning, we know which side the film’s sympathies lie as far as ‘ The Kashmir Files’ is concerned, it was not an ‘exodus’, it was a ‘genocide’, in which thousands of Kashmiri Hindus were massacred, women were raped, children were shot point blank: even today, those families live like refugees. Vivek Ranjan Agnihotri’s ‘ The Kashmir Files’ expands on that narrative and makes it the sole lens through which he views it. The last time Bollywood brought up the exodus of the Kashmiri Pandits from the Valley was in the 2020 ‘ Shikara’, made by Vidhu Vinod Chopra. Indeed, how this one managed to garner four Independent Spirit Award nominations is perhaps the film's biggest mystery of all.Also Read | Explained: The Kashmir Pandit tragedy Director Lyle Mitchell Corbine Jr.'s debut feature could use some definite spit and polish on a variety of fronts, especially in light of its overall attempts at saying something meaningful but not really saying much of anything at all. The fine supporting performances of Chaske Spencer and Phoenix Wilson help to prop up this offering, but the stilted portrayal of Michael Greeneyes and the wasted casting of Jesse Eisenberg and Kate Bosworth present a decidedly mixed bag on the acting front. Given the picture's thoroughly unlikeable protagonist, needlessly slow pacing, inexplicable plot developments and soliloquies containing observations that seem to lose something in translation, this alleged mystery/crime saga never quite comes together in an engaging or satisfying way. As thrillers go, this slowburning tale of a pair of adolescent Native American cousins from troubled backgrounds who get caught up in a dangerous situation has its moments at the film's outset but it drops the ball when their adult selves eventually seek to come to grips with their past.
Can’t wait to see what else he’s able to work on and accomplish! … ExpandĪs thrillers go, this slowburning tale of a pair of adolescent Native American cousins from troubled backgrounds who get caught up in a dangerous situation has its moments at the film's outset but it drops the ball when their adult selves eventually seek to come to grips with their past. The director and writer, Lyle Corbine, seems that he has a lot going for him and he should definitely have your sights on him for the future. But the presence of him being in a total of like 3 minutes of the film, seems like a bit of a miscast. I think he’s great in everything I’ve seen him in. But really I think the most distracting/disappointing part was Jesse Eisenberg. There’s so much here that you can like, but I think there’s also reasons why not to. Overall, I think the cinematography by Eli Born is beautiful, as well as the dark brooding score by Gavin Brivik. It’s just focused on so little unfortunately and is quickly forgotten, similar to the flashback images at the start and end of the film. The story references and tries to mirror the story of Cain and Abel, which I think is a really interesting way to take a story like this, and I like that side of the film a lot.
I would have loved to see maybe more of his downfall. Ted-o I think was a really interesting character that I wish we could have dived more into. He shows that of course, but again, did I feel it? Not really. It starts very strong, but I think otherwise fails as a character study, and I didn’t really feel anything for Makwa, any sort of relief or regret of what he did. I really loved the concept, but ultimately I feel like it falls a bit flat. It starts very strong, but I think otherwise fails as a character study, and I didn’t WILD INDIAN is a film about the different paths that arise for people after experiencing traumatic events in their childhood. WILD INDIAN is a film about the different paths that arise for people after experiencing traumatic events in their childhood.
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