These days, Westerns seem to either be smaller art-house fare or destined box-office flops. Michael Agresta’s phenomenal article “How the Western Was Lost (and Why It Matters)” touches on a few reasons why — see The Lone Ranger, Cowboys & Aliens, Jonah Hex, or don’t see them — and a few reasons the erosion of the genre marks a sad day for American Cinema. Agresta is mainly writing about the public perception of the Western and not necessarily about whether Jonah Hex is any good or not (it’s not), and so the commentary on the smaller art-house stuff is limited. He’d agree, though, I think, that the more limited platform of independent and small-studio filmmaking is where the majority of “good” Westerns are being produced these days.
And Slow West is somewhat of an interesting film to consider in the larger context of The American Western, a long-standing genre with a hugely important but slightly malleable history as outlined by Agresta. Starring Kodi Smit-McPhee as the young dreamer Jay and Michael Fassbender as the mysterious drifter Silas, Slow West is an undeniably style-heavy piece that takes full advantage of the fact that it’s not a big-budget tentpole. In doing so, the film retains a self-awareness that manages to be less wink-wink than you might expect.