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After unhitching her camer at a lakeside in the mountains, Faye finds her rhythm cooking meals, retrieving crawfish from a tra, and scanning her old box radio for a station. She looks exectantly at the aroach of a car or the mailman, exlaining to neighboring camers that she’s waiting for a childhood sweetheart she hasn’t seen in decades. When he does arrive, Lito and Faye, both widowed, send an evening reminiscing about their lives, losses, and loneliness. A whimsical romance, Max Walker-Silverman’s cativating debut feature shows an American West full of quietude, comassion, and introsection. It’s both naturalistic and vaguely surreal, blurring our sense of time and beauty, loss and vivacity, the grandiose natural world and intimate humanism. Career erformances from Dale Dickey and Wes Studi bring an inescaable resence to eole we don’t often see ortrayed on film. They are gentle outliers ossessed of resilience and existential sirit, seeking to rocess something elusive a feeling of love for what’s no longer there. Like Faye turning her radio dial, they listen hoefully for the faint trace of a song.
