Even though this film won Sundance’s Audience Award earlier this year, somehow it escaped my radar until last month. Written and directed by Kate Beecroft in her directorial debut, East Of Wall is a docufiction, which mixes documentary with fictional storytelling. The main stars include mother and daughter duo Tabatha Zimiga and Porshia Zimiga, who play a fictionalized version of themselves in the New West, located in the vast Badlands of South Dakota.

With piercing eyes, one side of her head shaved, and tattoos all over, Tabatha presents a captivating image. She is a fiery horse trainer and rancher who rescues and sells horses, while 14-year-old Porshia is an incredibly skilled rodeo champion who has gained popularity on TikTok. The movie frequently features TikTok clips from Tabatha’s account, highlighting Porshia speeding on her horse, her long brown hair blowing in the breeze. It’s exhilarating to watch her ‘ride like the wind’ across the open fields, with her mom capturing the moment from their truck.

Right from the start, though, Beecroft shows that life isn’t easy for the Zimiga’s family, especially since the death of Tabatha’s husband, John. It’s not immediately clear how he died until later on in the film, but one thing is for sure: both mom and daughter are still grieving amidst their financial struggles. It’s particularly challenging for Porshia, who shares through Voice Over that she had a strong bond with her father, the one who taught her to ride. His passing caused tension between her and her mother, leading to frequent shouting matches in front of other teens from the neighborhood that Tabatha has taken in. It’s uncertain when she began providing refuge for these troubled kids and what motivates her to do so, especially when she struggles to make ends meet for herself and Porshia.

Jennifer Ehle and Scoot McNairy are the only two actors in prominent roles in East of Wall. I find it quite amusing to see Ehle, who rose to fame as Elizabeth Bennet in the 1995 BBC version of Pride and Prejudice, taking on the role of Tabatha’s hard-drinking, chain-smoking mother, Tracey. She is quite convincing at portraying a hard-bitten yet tenderhearted woman who has endured a tough life. During her chat with Porshia, she expresses regret over not being the best mother to Tabatha.

Meanwhile, McNairy portrays a wealthy Texas rancher, Roy Waters, who’s impressed by Tabatha’s way with the horses and Porshia’s racing talent. He bought one of Tabatha’s horses for a handsome sum and later gave her an offer that could change their lives forever. Although the film doesn’t give us much info about Roy, it does hint that, through Porshia’s astute observation, he too, has experienced a heartbreaking loss related to his daughter.

I learned that Kate Beecroft lived with a family in South Dakota for three years prior to beginning her script about their experiences. The gritty way Beecroft captures the day-to-day life on the ranch, how the family plays with horses, and how the horse auction works, feels like a documentary. The ranch appears rundown, and the house is unkempt as Tabatha struggles with money issues, but she’s always loving towards the kids. She’d even make time to appear before a judge to ask for permission for one boy to stay with her.

It’s still rare to see a female-centered western, especially one told from a female lens. The journey of the two women feels authentic as it’s told from those who live it. Some of the interactions and line delivery might feel a bit stilted, but overall, I can empathize with them as their struggles feel real. The story is simple, but it packs an emotional punch. The harrowing conversation with several women around the fireplace is especially memorable. The bond between her and the kids creates a unique harmony amidst the chaos; it’s both touching and uplifting.

The small town of Wall, the backdrop for the film, is often referred to as the ‘Window to the West.’ Cinematographer Austin Shelton captures the raw beauty of the stunning landscape, but the visuals never upstage the women’s stories. Naturally, the similarities between Chloe Zhao’s 2017 film The Rider, also a neo-Western, are apparent. Both filmmakers immerse themselves in the American West and develop a deep, personal connection with their subject matter.

Despite sharing some commonalities, however, the narratives are quite distinct. East Of Wall stands on its own as an emotional exploration of grief that ultimately tells an uplifting story of resilience. Beecroft is giving a new twist and a fresh perspective to the Western genre. It’s certainly one of the most impressive directorial debuts of the last few years.

Have you seen East of Wall? I’d love to hear what you think!

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