The Rider

The Bitter Truth.

Zhao’s pathos drama that eerily is of an antithetical nature, proposes a much bigger question that every being lives for or has lived for. The theme somewhat resonates with Coen Brothers’s Inside Llewyn Davis, only a bit less darker, but equally promising and inspiring. This character driven feature dwells upon the inner resistance of ones- drunken with oneself’s attraction or weakness towards a subject and the conscience practical decision towards right and wrong- this is a film that required a narrator or an inner monologue. But Zhao’s bold steps on not to keep one favors immensely on her side through her brilliant execution, these silent pitches where she milks out the essential drama remains the highlight of it.

And through brilliant performance and meticulous script that uses enough props to express views and intentions, the message is sound and clear. Another beautiful aspect of the feature is the interaction of our protagonist with horses, the way he tames and communicates with them, it doesn’t require any verbal sparring to mesmerize you. And fabricating this drama into a compelling action, is Jandreau, delivering a stellar performance to observe at.

To be fair, his character is much more endearing than our usual protagonist is, he helps his friends even at their worst, he is protective and open to alienated concepts. The only part where he gets to be edgy and depict a darker side of his, is when he wrestles with a friend of his, which too is justified thoroughly. The conversations and the activities going around the room or a house is pretty much mundane and pragmatic that denses up the essence of the stakes stronger and impenetrable, like the usual conflict of his younger sister with her family that is kept burning throughout the course of the film. The Rider rides with an even stable pace to a more cozy state than it begins with.

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