"Wind River" Succeeds in Portraying Injustices Inflicted on Native American Women, Yet Indulges in the White Savior Complex

            “Wind River” stands as a strong well-rounded story with metaphors, embodies injustices inflicted on Native American women in the U.S, but also indulges in the “white savior” complex. This powerful narrative uses symbolism, such as the upside-down flag in the intro, commenting on the urgent help the Indian reservation needed. The film turns terrifying statistics on the disappearance of Native American women into a scary reality. While standing as a strong story, it can’t help but to indulge in the “white savior complex,” where a white character rescues people of color from their plight. “Wind River” delivers a vital message on the lack of statistics on Native American women going missing, while also providing a memorable murder mystery.

            According to the United States flag code, the flag should only be displayed with the union down when signaling dire distress […]. With that fun fact kept in mind, the opening shot of the upside-down flag being hit by the strong cold wind, forms a deeper impact.  “Wind River” follows a wildlife officer and an FBI agent solving the mystery behind the death of a young woman in an American Indian reservation. Within the story following the murder mystery, the wildlife officer is on a mission to kill a group of lions killing livestock. The job task the officer faces is parallel to the truth behind the death of the 18-year-old Native American woman, where another pack of lions is responsible.

            While the movie delivers a compelling story, it also manages to inform it’s audience of the morbid statistics surrounding Native American women. Without giving too much away, the film shares a quote at the end; “While missing person statistics are compiled for every other demographic, none exist for Native American women.” According to the New York Time’s article, “Higher Crimes, Fewer Charges on Indian Land,” tribal members have sued the government for declining prosecutions. Director Taylor Sheridan shared research done before shooting the film with Newsweek, like how it wasn’t until 2013, that “sexual assault of a Native woman by a non-Native couldn’t be prosecuted because it was a state crime on federal land…[.]” The lawsuit was an example of how the United States attorney’s office has a tendency of declining cases where the victims are Native American.

            While Native American actors played the criminal, meth-head, and victim, it would’ve been interesting to have another Native American actor as the good guy of the film. The lead character helps solve the case behind the death of a young woman, and also can’t help but to learn something about himself in the process. It makes sense why the FBI agent brought in to help would be of another race, since she’s an outsider. Yet, the lead male role was brought in because of his knowledge of the area, so it would be understandable if he were Native American, but was not. The film sadly fell into the white savior genre.  

            “Wind River” is an intriguing murder mystery set in a natural beautiful environment. Symbolism and metaphors adorning this film give way to a satisfying aftertaste. Director Taylor Sheridan succeeds in portraying the injustice inflicted against Native American women in the U.S. Even though the film partakes in the long cinematic tradition of the white savior complex, it still succeeds in many forms. The acting, scenery, and purposeful shots, are delivered eloquently in this motion picture. 

Check out the trailer and give the movie a shot, you won't regret it!