![]() Sterlin wrote that episode, and it’s really incredible, the way he brings us into this history through a much-loved character that we had seen before, the Deer Lady, who is this magnetic and mysterious person.Ī lot of the episode has the feeling of a horror movie and a Holocaust movie. It’s talking about a collective historical trauma. “Deer Lady” is very intense stuff and a bit of a stylistic break from the rest of the series.Įpisode three is a real departure from the tone of the series. More than any of her other episodes, Goulet says “Deer Lady” illustrates “what I appreciate most about Rez Dogs: It’s willing to really take risks.” We eventually learn the blood-scrubbing Deer Lady (Kaniehtiio Horn) was kidnapped as a child and imprisoned at a boarding school, where she escaped via the surrounding, fog-choked forests and later sought revenge for her ordeal. ![]() Goulet’s most recent, “ Deer Lady,” is a multilayered, time-shifting, flashback-filled tale mostly presented through the visual grammar of a 1970s horror film, somewhere between grindhouse and arthouse. Harjo assembled a killer lineup of Native directors for his most plum assignments, including Danis Goulet, an independent filmmaker who absorbs, mixes, and applies disparate film genres in a way that fits into the gestalt of Reservation Dogs while also making her episodes stand apart. There are critiques and reclamations of American film genres that previously treated Native Americans as bit players, villains, or symbols, and it all fits together somehow, perhaps because the show spends less time struggling to justify its various departures than in devising and executing them. As the FX show has unfolded across three seasons, it’s grown comfortable taking big and occasionally wild swings, confident its viewers will sit with an episode’s obscured meaning until the series clarifies it on its own timetable, in its own unique way.Īs supervised and sometimes personally directed by Harjo, Reservation Dogs’ style runs the gamut from loose, improvisatory, hangin’-out indie to stylized sequences that take the characters into dreams, hallucinations, and a skeptical, almost cockeyed view of America’s official self-image. But most comedies aren’t Reservation Dogs, Sterlin Harjo’s acclaimed series about reservation life in the 21st century. ![]() Most series billed as comedies don’t open an episode with a character cleaning blood off a knife in a convenience store restroom, or a montage of unsettling images: a child running through the woods at night, an old man eating at a kitchen table, a zoom toward a closed door.
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