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First cow cloned. Dir: Kelly Reichardt. US. 2019. 121 mins. Some filmmakers produce wide, colour-splashed canvases. Kelly Reichardt makes subtly shaded miniatures. First Cow, arriving at the New York Film Festival after its Telluride bow, is another in her carefully carved cameos of equally circumscribed, working-class lives. Although its unlikely to expand her appeal ? and the ensemble lacks the marquee value of some of her recent casts ? its quiet humanism and painstaking attention to detail are sure to appeal to the core audience which has faithfully followed her for more than a decade. Reichardt has always told small stories for a small audience, and even within those self-imposed constraints, First Cow is a minor work. Her first period piece since Meeks Cutoff (and one of her few films not to find a part for regular collaborator Michelle Williams) Reichardts First Cow takes place in wild, early-19 th -century Oregon, where men trade beaver pelts for silver ingots, and the arrival of that singular, titular livestock is a remarkable event. Its a time and a place where the future is still unwritten ? and so two strangers decide to write their own by selling delicious baked goods to trappers hungry for a taste of home. Its an unusual partnership. Cookie Figowitz (John Magaro) a quiet wanderer from Maryland, is a skilled cook but naturally shy and cautious. King Lu (Orion Lee) a Chinese immigrant on the run from a murder charge, is a born opportunist, impatient to start making the fortune he knows he deserves. Beavers werent the answer. But its possible Cookies cakes might be, particularly if the two men can steal enough fresh milk from that new cow ? a literal cash cow ? to keep expanding their business. It seems unlikely their plans will proceed unimpeded (particularly since the film starts with the present-day discovery of a shallow grave. But Reichardt isnt interested in conventional suspense, or even constructing a complicated narrative (the script, which she wrote with novelist Jonathan Raymond, jettisons a large part of his book. Instead, Reichardts focus is, as usual, on the economic struggles of her rural characters. How will Cookie Figowitz and King Lu, starting with nearly nothing, build any security for themselves? What crimes and compromises will be necessary? Reichardt, however, is interested in constructing more than just an economic parable. Because while Cookie and King Lu are partners in business, they soon become partners in life, too, treating each other with gentle concern, complementing each others strengths and weaknesses. Its never eroticised, Brokeback Mountain style ? not even when, after first meeting a terrified and naked King Lu in the forest, Cookie invites him back to his tent. Yet theres a sweet companionship here thats both charming and very real. The film has other charms. Cinematographer Christopher Blauvelt, whos shot Reichardt has last three pictures, draws dramatic distinctions between the greens and blues of the unspoiled Pacific Northwest (verdant forests, rushing rivers) and the browns and greys of mans improvements (foul streets, crumbling shacks. And the cast is filled with lovely little surprises, character actors who not only add life to the proceedings but a reminder of what a mess of transplanted misfits the frontier was, with Toby Jones as an Englishman trying to keep Regency styles alive, and Ewen Bremner as a rough Scot desperate for a decent game of cribbage. (Best is the veteran Rene Auberjonois as a hermit who barely gets in a word, yet seems to get all the films laughs. ) Reichardt has always told small stories for a small audience, and even within those self-imposed constraints, First Cow is a minor work. It doesnt have the ambitions of Certain Women, which laid out various narratives and then brought in the star power of Williams, Kristen Stewart and Laura Dern; it doesnt build to the heart-rending climax of Wendy and Lucy. But it is still perfectly made, perfectly acted and ultimately moving ? a melancholy memory in miniature, a Daguerreotype of a distant time that may be more like our own than we know. Production companies: Film Science International sales: A24, i Producers: Neil Kopp, Vincent Savino, Anish Savjani Screenplay: Kelly Reichardt, Jonathan Raymond, based on the novel by Jonathan Raymond. Editing: Kelly Reichardt Cinematography: Christopher Blauvelt Music: William Tyler Main cast: John Magaro, Orion Lee, Toby Jones, Rene Auberjonois, Ewen Bremner.
God it feels like so long ago. James left now. Aleks is the last of OG COWCHOP. The channel will probably end by the beginning of 2020. I wish I could come back to when I saw this video the first time. I was happy. Watching it now feels like being at a funeral. Mérycisme et nissen. Edit Storyline A loner and cook (John Magaro) has traveled west and joined a group of fur trappers in Oregon Territory, though he only finds connection with a Chinese immigrant (Orion Lee. The men collaborate on a business, although its longevity is reliant upon the participation of a wealthy landowner's prized milking cow. Written by A24 Plot Summary, Add Synopsis Motion Picture Rating ( MPAA) Rated PG-13 for brief strong language. Details Release Date: 6 March 2020 (USA) See more ?? Company Credits Technical Specs See full technical specs ??.
First cow disease. First cowboys qb. First contact. First castle credit union la. Critics Consensus No consensus yet. 90% TOMATOMETER Total Count: 10 Coming soon Release date: Mar 6, 2020 Audience Score Ratings: Not yet available First Cow Ratings & Reviews Explanation First Cow Videos Movie Info Kelly Reichardt once again trains her perceptive and patient eye on the Pacific Northwest, this time evoking an authentically hardscrabble early nineteenth century way of life. A taciturn loner and skilled cook (John Magaro) has traveled west and joined a group of fur trappers in Oregon Territory, though he only finds true connection with a Chinese immigrant (Orion Lee) also seeking his fortune; soon the two collaborate on a successful business, although its longevity is reliant upon the clandestine participation of a nearby wealthy landowner's prized milking cow. From this simple premise Reichardt constructs an interrogation of foundational Americana that recalls her earlier triumph Old Joy in its sensitive depiction of male friendship, yet is driven by a mounting suspense all its own. Reichardt again shows her distinct talent for depicting the peculiar rhythms of daily living and ability to capture the immense, unsettling quietude of rural America. Rating: PG-13 (for brief strong language) Genre: Directed By: Written By: In Theaters: Mar 6, 2020 limited Runtime: 122 minutes Studio: A24 Cast News & Interviews for First Cow Critic Reviews for First Cow Audience Reviews for First Cow There are no featured reviews for First Cow because the movie has not released yet (Mar 6, 2020. See Movies in Theaters First Cow Quotes News & Features.
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I despise movies like this. First cowcotland. First cow movie. First cowboy boots. First cowboys in america. Kelly Reichardts First Cow (2019) I n the essay accompanying our release of Certain Women (2016) Ella Taylor writes that director Kelly Reichardts “specialty is the transformation of landscape?whether cheerless wasteland or broody paradise?into a stage for journeys of the parched soul. ” In First Cow, the landscape is the barely settled Oregon Territory of the 1820s. Its one of the “mix-tape elements, ” as Filmmaker s Scott Macaulay calls them, the nods to Reichardts previous films that several critics have spotted in First Cow since it premiered last month at Telluride. Venice artistic director Alberto Barbera has told Deadlines Andreas Wiseman that he wanted the film for this years competition lineup, but distributor A24 opted to skip both his festival and Toronto. First Cow screens once more this evening at the New York Film Festival before opening in theaters in March. Following their collaboration on Old Joy (2006) Wendy and Lucy (2008) Meeks Cutoff (2010) and Night Moves (2013) Reichardt and Portland-based writer Jonathan Raymond have taken one of the parallel narratives from Raymonds 2004 debut novel, The Half-Life, as the backbone of First Cow. The film opens with a line from William Blake: “The bird a nest, the spider a web, man friendship. ” In a brief prologue set in the present, a young woman (Alia Shawkat) and her dog are out walking when they discover a half-buried skull. A little digging reveals the skeletons of two men holding hands. Presumably, these are the remains of Otis “Cookie” Figowitz (John Magaro) a loner first seen foraging for mushrooms and berries, and King Lu (Orion Lee) a Chinese immigrant who claims to be on the run from a band of Russians. Cookie quietly prepares meals for the rowdy fur trappers at the Royal West Pacific Trading Post. “Assisted by William Tylers warm acoustic score, ” writes Vikram Murthi at the Film Stage, Reichardt “emphasizes hunger as the great equalizer amongst even the harshest men, and how the presence of food, let alone good food, can allow for vulnerability and joy. ” In the Hollywood Reporter, David Rooney finds that the “attention to character in the faces alone is remarkable, from beloved veteran Rene Auberjonois as a crusty loner with a pet crow to Ewen Bremner as a blustery military flunky with a passion for cribbage and a Scottish brogue he possibly hasnt laid on so thickly since Trainspotting. ” As the local English landowner living in the communitys only stand-alone house with his Native American wife (Lily Gladstone) Toby Jones plays the Chief Factor as “a pompous twit without resorting to caricature, while [Scott] Shepherd is similarly measured in conveying the Captains sense of smart superiority. ” For the New York Times Manohla Dargis, though, “the movie belongs to Magaro and Lee, whose characters first meet in the woods. After some misadventures?including a narrow escape that shows Reichardt gently flexing her action muscles?the two men reunite and set up house together, cooking, sewing, philosophizing. As she did in Old Joy, Reichardt is exploring the tensions and tenderness of a male friendship. Here, though, the mens relationship, with its kindness, virtues and mutual dependences, also offers a vision of an American dream not yet wholly corrupted by unbridled self-interest. ” When Joness landowner brings that first cow to the trading post, Cookie and King Lu conspire to steal milk at night and bake and sell little cakes that turn out to be wildly popular, and the landowner invites them to prepare a special dish for one of his guests. “Theres a delight to watching the ironies of this political economy play out, ” writes Scott Macaulay, “pleasures accentuated by the intimacy of the films 4:3 framing (cinematography is by Chris Blauvelt) and the sparse beauty of Leslie Shatzs sound design. ”.
Very realistic movie. Can't believe this isn't nominated for best picture. Also the young actress is incredible, holy shit. Now I have to recover from this movie, it made me depressed and sad. First cowboy. You need to be worried about the GMOs forreal. First cow trailer reaction.
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Reichardt's tender story of 19th century friendship consolidates the themes of her previous movies to hypnotic effect. Few filmmakers wrestle with what it means to be American the way Kelly Reichardt has injected that question into all of her movies. In a meticulous fashion typical of her spellbinding approach, “ First Cow ” consolidates the potent themes of everything leading up to it: It returns her to the nascent America of the 19th century frontier at the center of “Meeks Cutoff, ” touches on the environmental frustrations of “Night Moves, ” revels in the glorious isolation of the countryside in “Certain Women, ” and the somber travails of vagrancy at the center of “Wendy and Lucy. ” Mostly, though, “First Cow” unfolds like “Old Joy” in the Oregon Territory. Once again, Reichardt has crafted a wondrous little story about two friends roaming the natural splendors of the Pacific Northwest, searching for their place in the world. The appeal of this hypnotic, unpredictable movie comes from how they find that place through mutual failure, and the nature of that outcome in the context of an early, untamed America has rich implications that gradually seep into the frame. Reichardt excels at communing with natural beauty and humankinds complex relationship to it, but “First Cow” pushes that motif into timeless resonance. Though the bulk of “First Cow” unfolds in 1820, it begins with a modern-day prologue in the same woodsy location, where a young woman (Alia Shawkat in a fleeting cameo) uncovers two skeletons lying side by side in the woods. That tantalizing image follows a quote from William Blake ? “the bird a nest, the spider a web, man friendship” ? establishing the instinctive bond that follows. From there, the movie flashes back to the distant past, telling the origin story of those skeletons as an unsuspecting buddy movie. It begins with the plight of Cookie (John Magaro) a shy pushover roaming through the forest and serving as the cook for a group of virile fur trappers. Foraging one night after dark, he comes across a wandering Chinese man named King-Lu (Orion Lee) who left his native land long ago and claims to be on the lam from Russians. Its never quite clear just how much King-Lus story has been invented by the mysterious traveler, but when the pair reconnect at the barren Royal West Pacific Trading Post, they immediately bond over mutual alienation. And then, a sneaky business opportunity: When they spot a nearby property owner bringing the first cow to the region, they come up with a plot to steal its milk so they can sell biscuits and oil cakes to the weary travelers passing through the region. With time, this plot becomes an origin story of greed, desperation, and the American dream, rooting it in a sincere desire to find success in an unforgiving world. Cookie and King-Lu may be reckless, but theyre a lovable pair, compelled by a quest to succeed that transcends the specificity of its setting. Theres a fundamental metaphorical dimension to this unusual plot ? the very nature of Eastern and Western characters, hesitant to join forces as they map out an unrealistic plan to conquer the world, invites many interpretations ??but Reichardt doesnt overplay it. Instead, “First Cow” lingers in the scenery, with cinematographer Christopher Blauvelt drawing out the storybook wonders of a landscape dominated by hulking trees and unforgiving rivers. “History hasnt gotten here yet, ” King-Lu tells his new pal, and its unclear if their presence represents an opportunity or a threat. “First Cow” has been adapted from “The Half-Life, ” a novel by Reichardts longtime collaborator John Raymond, who co-wrote the screenplay with her. Raymonds novel, however, contrasted the frontier setting with a modern-day tale of friendship; by dropping that storyline, Reichardt allows the period backdrop to take on an inquisitive quality that interrogates the present without confronting it directly. William Tylers ebullient score draws out the gradual sense of possibility percolating through the empty scenery, and gives the story a sweeter quality than the melancholy dominating much of her work. It hovers in the ambition of its characters, setting up the emotional process they undergo when the reality of their scheme comes crashing into the pictures. Eventually, the pair run into problems with a wealthy British trade mogul (Toby Jones, relishing the part of an avaricious colonist) who hires them to bring some of their tasty biscuits over, not realizing theyve been stealing ingredients from his backyard to make them. This encounter sets the scene for a mesmerizing chase across the messy scenery, and a hypnotic encounter with indigenous peoples that serves as Reichardts latest trenchant reminder that someone else had this land first. But even here, Reichardt doesnt indict her wayward characters for falling prey to proto-capitalist impulses; instead, theyre victims of a universal struggle to find success and stability, and in the process they find each other. With a few more telling glances, “First Cow” might have turned the ballad of King-Lu and Cookie into the material for a homoerotic Western, but Reichardt doesnt force that context onto material with broader intentions for its characters. Magaro buries himself in the role of a lonely introvert a world apart from his more conventional turns on “Orange is the New Black” and in “Carol, ” crafting a tender figure whose understated nature makes it all too easy for others to impose their agenda onto him. Lee, meanwhile, inhabits a mysterious figure at odds with his foreign identity, with a sneaky grin that hides big plans that never quite come to fruition. King-Lu and Cookie need each other not only to survive but to bond over that very same need, and “First Cow” commiserates with their journey in a kind-hearted fashion that allows the movie to resonate with more warmth than it initially lets on. As with all of her work, Reichardt communes with the notion that even reckless people simply want to find meaning in their small corners of existence, and the last three words of the story ? “Ive got you” ? have a cathartic power that suggests no victory can be greater than companionship itself. Grade: A- “First Cow” premiered at the 2019 Telluride Film Festival and next plays NYFF. A24 will release it in 2020. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
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February 02, 2020
3.1/ 5stars
First Cow gostream putlocker9 Without Sign Up 
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https://onwatchly.com/video-9792.html?utm_source=s...
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- actors: Alia Shawkat, Toby Jones
- &ref(https://m.media-amazon.com/images/M/MV5BMWQyYjA2OGItM2ZlNS00NDY0LWFhZjMtMGZlNjA1YTBkMWJjXkEyXkFqcGdeQXVyMzgxOTMzOTA@._V1_UY190_CR0,0,128,190_AL_.jpg)
- Runtime: 121Minutes
- Directed by: Kelly Reichardt
- Rating: 54 Vote
- 2019
I dont wanna watch this movie itll make me sad.With The Creatures Demise, Cow Chop will rise.
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First cow cloned. Dir: Kelly Reichardt. US. 2019. 121 mins. Some filmmakers produce wide, colour-splashed canvases. Kelly Reichardt makes subtly shaded miniatures. First Cow, arriving at the New York Film Festival after its Telluride bow, is another in her carefully carved cameos of equally circumscribed, working-class lives. Although its unlikely to expand her appeal ? and the ensemble lacks the marquee value of some of her recent casts ? its quiet humanism and painstaking attention to detail are sure to appeal to the core audience which has faithfully followed her for more than a decade. Reichardt has always told small stories for a small audience, and even within those self-imposed constraints, First Cow is a minor work. Her first period piece since Meeks Cutoff (and one of her few films not to find a part for regular collaborator Michelle Williams) Reichardts First Cow takes place in wild, early-19 th -century Oregon, where men trade beaver pelts for silver ingots, and the arrival of that singular, titular livestock is a remarkable event. Its a time and a place where the future is still unwritten ? and so two strangers decide to write their own by selling delicious baked goods to trappers hungry for a taste of home. Its an unusual partnership. Cookie Figowitz (John Magaro) a quiet wanderer from Maryland, is a skilled cook but naturally shy and cautious. King Lu (Orion Lee) a Chinese immigrant on the run from a murder charge, is a born opportunist, impatient to start making the fortune he knows he deserves. Beavers werent the answer. But its possible Cookies cakes might be, particularly if the two men can steal enough fresh milk from that new cow ? a literal cash cow ? to keep expanding their business. It seems unlikely their plans will proceed unimpeded (particularly since the film starts with the present-day discovery of a shallow grave. But Reichardt isnt interested in conventional suspense, or even constructing a complicated narrative (the script, which she wrote with novelist Jonathan Raymond, jettisons a large part of his book. Instead, Reichardts focus is, as usual, on the economic struggles of her rural characters. How will Cookie Figowitz and King Lu, starting with nearly nothing, build any security for themselves? What crimes and compromises will be necessary? Reichardt, however, is interested in constructing more than just an economic parable. Because while Cookie and King Lu are partners in business, they soon become partners in life, too, treating each other with gentle concern, complementing each others strengths and weaknesses. Its never eroticised, Brokeback Mountain style ? not even when, after first meeting a terrified and naked King Lu in the forest, Cookie invites him back to his tent. Yet theres a sweet companionship here thats both charming and very real. The film has other charms. Cinematographer Christopher Blauvelt, whos shot Reichardt has last three pictures, draws dramatic distinctions between the greens and blues of the unspoiled Pacific Northwest (verdant forests, rushing rivers) and the browns and greys of mans improvements (foul streets, crumbling shacks. And the cast is filled with lovely little surprises, character actors who not only add life to the proceedings but a reminder of what a mess of transplanted misfits the frontier was, with Toby Jones as an Englishman trying to keep Regency styles alive, and Ewen Bremner as a rough Scot desperate for a decent game of cribbage. (Best is the veteran Rene Auberjonois as a hermit who barely gets in a word, yet seems to get all the films laughs. ) Reichardt has always told small stories for a small audience, and even within those self-imposed constraints, First Cow is a minor work. It doesnt have the ambitions of Certain Women, which laid out various narratives and then brought in the star power of Williams, Kristen Stewart and Laura Dern; it doesnt build to the heart-rending climax of Wendy and Lucy. But it is still perfectly made, perfectly acted and ultimately moving ? a melancholy memory in miniature, a Daguerreotype of a distant time that may be more like our own than we know. Production companies: Film Science International sales: A24, i Producers: Neil Kopp, Vincent Savino, Anish Savjani Screenplay: Kelly Reichardt, Jonathan Raymond, based on the novel by Jonathan Raymond. Editing: Kelly Reichardt Cinematography: Christopher Blauvelt Music: William Tyler Main cast: John Magaro, Orion Lee, Toby Jones, Rene Auberjonois, Ewen Bremner.God it feels like so long ago. James left now. Aleks is the last of OG COWCHOP. The channel will probably end by the beginning of 2020. I wish I could come back to when I saw this video the first time. I was happy. Watching it now feels like being at a funeral. Mérycisme et nissen. Edit Storyline A loner and cook (John Magaro) has traveled west and joined a group of fur trappers in Oregon Territory, though he only finds connection with a Chinese immigrant (Orion Lee. The men collaborate on a business, although its longevity is reliant upon the participation of a wealthy landowner's prized milking cow. Written by A24 Plot Summary, Add Synopsis Motion Picture Rating ( MPAA) Rated PG-13 for brief strong language. Details Release Date: 6 March 2020 (USA) See more ?? Company Credits Technical Specs See full technical specs ??.
First cow disease. First cowboys qb. First contact. First castle credit union la. Critics Consensus No consensus yet. 90% TOMATOMETER Total Count: 10 Coming soon Release date: Mar 6, 2020 Audience Score Ratings: Not yet available First Cow Ratings & Reviews Explanation First Cow Videos Movie Info Kelly Reichardt once again trains her perceptive and patient eye on the Pacific Northwest, this time evoking an authentically hardscrabble early nineteenth century way of life. A taciturn loner and skilled cook (John Magaro) has traveled west and joined a group of fur trappers in Oregon Territory, though he only finds true connection with a Chinese immigrant (Orion Lee) also seeking his fortune; soon the two collaborate on a successful business, although its longevity is reliant upon the clandestine participation of a nearby wealthy landowner's prized milking cow. From this simple premise Reichardt constructs an interrogation of foundational Americana that recalls her earlier triumph Old Joy in its sensitive depiction of male friendship, yet is driven by a mounting suspense all its own. Reichardt again shows her distinct talent for depicting the peculiar rhythms of daily living and ability to capture the immense, unsettling quietude of rural America. Rating: PG-13 (for brief strong language) Genre: Directed By: Written By: In Theaters: Mar 6, 2020 limited Runtime: 122 minutes Studio: A24 Cast News & Interviews for First Cow Critic Reviews for First Cow Audience Reviews for First Cow There are no featured reviews for First Cow because the movie has not released yet (Mar 6, 2020. See Movies in Theaters First Cow Quotes News & Features.
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I despise movies like this. First cowcotland. First cow movie. First cowboy boots. First cowboys in america. Kelly Reichardts First Cow (2019) I n the essay accompanying our release of Certain Women (2016) Ella Taylor writes that director Kelly Reichardts “specialty is the transformation of landscape?whether cheerless wasteland or broody paradise?into a stage for journeys of the parched soul. ” In First Cow, the landscape is the barely settled Oregon Territory of the 1820s. Its one of the “mix-tape elements, ” as Filmmaker s Scott Macaulay calls them, the nods to Reichardts previous films that several critics have spotted in First Cow since it premiered last month at Telluride. Venice artistic director Alberto Barbera has told Deadlines Andreas Wiseman that he wanted the film for this years competition lineup, but distributor A24 opted to skip both his festival and Toronto. First Cow screens once more this evening at the New York Film Festival before opening in theaters in March. Following their collaboration on Old Joy (2006) Wendy and Lucy (2008) Meeks Cutoff (2010) and Night Moves (2013) Reichardt and Portland-based writer Jonathan Raymond have taken one of the parallel narratives from Raymonds 2004 debut novel, The Half-Life, as the backbone of First Cow. The film opens with a line from William Blake: “The bird a nest, the spider a web, man friendship. ” In a brief prologue set in the present, a young woman (Alia Shawkat) and her dog are out walking when they discover a half-buried skull. A little digging reveals the skeletons of two men holding hands. Presumably, these are the remains of Otis “Cookie” Figowitz (John Magaro) a loner first seen foraging for mushrooms and berries, and King Lu (Orion Lee) a Chinese immigrant who claims to be on the run from a band of Russians. Cookie quietly prepares meals for the rowdy fur trappers at the Royal West Pacific Trading Post. “Assisted by William Tylers warm acoustic score, ” writes Vikram Murthi at the Film Stage, Reichardt “emphasizes hunger as the great equalizer amongst even the harshest men, and how the presence of food, let alone good food, can allow for vulnerability and joy. ” In the Hollywood Reporter, David Rooney finds that the “attention to character in the faces alone is remarkable, from beloved veteran Rene Auberjonois as a crusty loner with a pet crow to Ewen Bremner as a blustery military flunky with a passion for cribbage and a Scottish brogue he possibly hasnt laid on so thickly since Trainspotting. ” As the local English landowner living in the communitys only stand-alone house with his Native American wife (Lily Gladstone) Toby Jones plays the Chief Factor as “a pompous twit without resorting to caricature, while [Scott] Shepherd is similarly measured in conveying the Captains sense of smart superiority. ” For the New York Times Manohla Dargis, though, “the movie belongs to Magaro and Lee, whose characters first meet in the woods. After some misadventures?including a narrow escape that shows Reichardt gently flexing her action muscles?the two men reunite and set up house together, cooking, sewing, philosophizing. As she did in Old Joy, Reichardt is exploring the tensions and tenderness of a male friendship. Here, though, the mens relationship, with its kindness, virtues and mutual dependences, also offers a vision of an American dream not yet wholly corrupted by unbridled self-interest. ” When Joness landowner brings that first cow to the trading post, Cookie and King Lu conspire to steal milk at night and bake and sell little cakes that turn out to be wildly popular, and the landowner invites them to prepare a special dish for one of his guests. “Theres a delight to watching the ironies of this political economy play out, ” writes Scott Macaulay, “pleasures accentuated by the intimacy of the films 4:3 framing (cinematography is by Chris Blauvelt) and the sparse beauty of Leslie Shatzs sound design. ”.Very realistic movie. Can't believe this isn't nominated for best picture. Also the young actress is incredible, holy shit. Now I have to recover from this movie, it made me depressed and sad. First cowboy. You need to be worried about the GMOs forreal. First cow trailer reaction.
The first cow. First cow sanctuary in rajasthan. That version of San Francisco (Be Sure to Wear Flowers in Your Hair) went straight through my heart.Reichardt's tender story of 19th century friendship consolidates the themes of her previous movies to hypnotic effect. Few filmmakers wrestle with what it means to be American the way Kelly Reichardt has injected that question into all of her movies. In a meticulous fashion typical of her spellbinding approach, “ First Cow ” consolidates the potent themes of everything leading up to it: It returns her to the nascent America of the 19th century frontier at the center of “Meeks Cutoff, ” touches on the environmental frustrations of “Night Moves, ” revels in the glorious isolation of the countryside in “Certain Women, ” and the somber travails of vagrancy at the center of “Wendy and Lucy. ” Mostly, though, “First Cow” unfolds like “Old Joy” in the Oregon Territory. Once again, Reichardt has crafted a wondrous little story about two friends roaming the natural splendors of the Pacific Northwest, searching for their place in the world. The appeal of this hypnotic, unpredictable movie comes from how they find that place through mutual failure, and the nature of that outcome in the context of an early, untamed America has rich implications that gradually seep into the frame. Reichardt excels at communing with natural beauty and humankinds complex relationship to it, but “First Cow” pushes that motif into timeless resonance. Though the bulk of “First Cow” unfolds in 1820, it begins with a modern-day prologue in the same woodsy location, where a young woman (Alia Shawkat in a fleeting cameo) uncovers two skeletons lying side by side in the woods. That tantalizing image follows a quote from William Blake ? “the bird a nest, the spider a web, man friendship” ? establishing the instinctive bond that follows. From there, the movie flashes back to the distant past, telling the origin story of those skeletons as an unsuspecting buddy movie. It begins with the plight of Cookie (John Magaro) a shy pushover roaming through the forest and serving as the cook for a group of virile fur trappers. Foraging one night after dark, he comes across a wandering Chinese man named King-Lu (Orion Lee) who left his native land long ago and claims to be on the lam from Russians. Its never quite clear just how much King-Lus story has been invented by the mysterious traveler, but when the pair reconnect at the barren Royal West Pacific Trading Post, they immediately bond over mutual alienation. And then, a sneaky business opportunity: When they spot a nearby property owner bringing the first cow to the region, they come up with a plot to steal its milk so they can sell biscuits and oil cakes to the weary travelers passing through the region. With time, this plot becomes an origin story of greed, desperation, and the American dream, rooting it in a sincere desire to find success in an unforgiving world. Cookie and King-Lu may be reckless, but theyre a lovable pair, compelled by a quest to succeed that transcends the specificity of its setting. Theres a fundamental metaphorical dimension to this unusual plot ? the very nature of Eastern and Western characters, hesitant to join forces as they map out an unrealistic plan to conquer the world, invites many interpretations ??but Reichardt doesnt overplay it. Instead, “First Cow” lingers in the scenery, with cinematographer Christopher Blauvelt drawing out the storybook wonders of a landscape dominated by hulking trees and unforgiving rivers. “History hasnt gotten here yet, ” King-Lu tells his new pal, and its unclear if their presence represents an opportunity or a threat. “First Cow” has been adapted from “The Half-Life, ” a novel by Reichardts longtime collaborator John Raymond, who co-wrote the screenplay with her. Raymonds novel, however, contrasted the frontier setting with a modern-day tale of friendship; by dropping that storyline, Reichardt allows the period backdrop to take on an inquisitive quality that interrogates the present without confronting it directly. William Tylers ebullient score draws out the gradual sense of possibility percolating through the empty scenery, and gives the story a sweeter quality than the melancholy dominating much of her work. It hovers in the ambition of its characters, setting up the emotional process they undergo when the reality of their scheme comes crashing into the pictures. Eventually, the pair run into problems with a wealthy British trade mogul (Toby Jones, relishing the part of an avaricious colonist) who hires them to bring some of their tasty biscuits over, not realizing theyve been stealing ingredients from his backyard to make them. This encounter sets the scene for a mesmerizing chase across the messy scenery, and a hypnotic encounter with indigenous peoples that serves as Reichardts latest trenchant reminder that someone else had this land first. But even here, Reichardt doesnt indict her wayward characters for falling prey to proto-capitalist impulses; instead, theyre victims of a universal struggle to find success and stability, and in the process they find each other. With a few more telling glances, “First Cow” might have turned the ballad of King-Lu and Cookie into the material for a homoerotic Western, but Reichardt doesnt force that context onto material with broader intentions for its characters. Magaro buries himself in the role of a lonely introvert a world apart from his more conventional turns on “Orange is the New Black” and in “Carol, ” crafting a tender figure whose understated nature makes it all too easy for others to impose their agenda onto him. Lee, meanwhile, inhabits a mysterious figure at odds with his foreign identity, with a sneaky grin that hides big plans that never quite come to fruition. King-Lu and Cookie need each other not only to survive but to bond over that very same need, and “First Cow” commiserates with their journey in a kind-hearted fashion that allows the movie to resonate with more warmth than it initially lets on. As with all of her work, Reichardt communes with the notion that even reckless people simply want to find meaning in their small corners of existence, and the last three words of the story ? “Ive got you” ? have a cathartic power that suggests no victory can be greater than companionship itself. Grade: A- “First Cow” premiered at the 2019 Telluride Film Festival and next plays NYFF. A24 will release it in 2020. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
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