The award-nominated duo behind SING SING, Greg Kwedar and Clint Bentley, crafts another phenomenal cinematic project, Train Dreams. They both love crafting narratives that draw from real-life elements and settings. Instead of confining the story indoors in an active prison, they set this film mainly in the great outdoors in the Pacific Northwest, specifically in the actively logged forests.

Robert Grainier (Joel Edgerton) is a logger on a railroad in 1917. He’s a man of few words, a tough, hardworking man who lives with his wife, Gladys (Felicity Jones), and baby girl, Kate. The tale covers 40 years of Robert’s life, and Will Patton‘s narration gives us a glimpse into his world: he was born an orphan, which means hardship and loneliness have always been part of his journey. There are no fight scenes or even an antagonist that Robert has to face off against, but that doesn’t mean his life is free of conflict. Normally, I’m not a big fan of voice-overs, but it works well here. Apparently, Patton also did the narration for the audiobook of the original novella by Denis Johnson.

The Grainiers set up their home deep in the Idaho woods next to a charming lake, and for a time, everything feels happy and serene. Robert often has to go to work for extended stretches, which means Gladys is left to manage the house and the baby on her own. It’s a pity we don’t get insights into Gladys’ life since the film mainly centers around Robert. Every time Robert returns home, their relationship is filled with warmth and affection.

While working, Robert encounters fascinating people, notably Arn Peeples (William H. Macy), an explosives expert and philosopher who has a profound love for nature and trees. He impressed upon the loggers that continually cutting down trees that have been around 500 years would affect them spiritually, “Upsets a man’s soul whether he recognizes it or not.” Although it’s a minor role, Macy’s character leaves a lasting impression (he has a bigger impact here than in The Running Man).

The film touches upon prejudice and overt discrimination faced by Chinese workers in the early century. Robert’s fellow worker, Fu Shen (Alfred Hsing), is violently thrown off a bridge by a mob. The killing occurs off-screen, yet it still highlights the brutality of racism. Unable to intervene, Shen’s death becomes a source of guilt and a haunting reminder. Another coworker, Apostle Frank (Paul Schneider), also meets a violent end during a work break. Ironically, the man who often preaches while he saws doesn’t follow the Scriptures he quotes. Robert witnesses both violent incidents but takes no action. Unlike in the novella, where he plays a more active role in Shen’s death, this film version portrays him as more of a bystander. Still, he can’t shake off the guilt from his inaction.

Then tragedy strikes… a forest fire destroys his home, and his family is missing. Robert confronts the despair largely on his own. His only companion is Ignatius Jack (Nathaniel Arcand), a compassionate Indigenous storekeeper who offers vital support to Robert during this time of profound grief as he searches for his wife and daughter. It’s heartbreaking to witness such a significant loss, yet Robert shows resilience as he reconstructs his home on the same land.

There are some intriguing supernatural aspects, like the trees appearing to ‘fight back’ when a branch falls on Arn, injuring him, and a large log rolling down a hill, resulting in the deaths of several workers. Robert is also tormented by the ghost of Shen, and there’s a hint that his daughter Kate may have survived the fire and transformed into a ‘wolf girl.’ It remains unclear if this is merely a figment of his imagination, born from his fever and overwhelming sorrow.

One of my favorites is the interaction between Robert and Claire (the always amazing Kerry Condon), who works in forestry services at a secluded fire lookout tower. They both experience a profound sense of isolation and loss as Claire lost her husband, although Claire finds peace in her self-imposed solitude. Their deep conversation may appear mundane, yet it is filled with inspiring insights… “a dead tree holds as much significance as a living one,” Claire remarks, implying that negative experiences, no matter how painful, are crucial for personal growth and making space for renewal.

Edgerton has consistently delivered outstanding performances, but this is his finest work since Loving, where he conveys so much emotion through his eyes alone. He brings a soulful essence that is utilized brilliantly here. The supporting cast leaves a lasting impression, particularly Macy and Condon. I can envision a spin-off featuring just Condon’s character operating solo in that lookout tower.

The visuals are as stunning as the acting, with Adolpho Veloso‘s cinematography occasionally reminiscent of Terrence Malick’s films. It’s currently streaming on Netflix, but it must’ve looked glorious on the big screen. The wilderness and lush forests appear truly enchanting, while Bryce Dessner’s folk-inspired score feels both ethereal and timeless. I appreciate that the film is primarily shot on location, enhancing its authenticity.

Train Dreams is an exceptional film that delves into the themes of American identity through the eyes of a worker who helps build it. Many films today are often frantic, overly focused on action, special effects, or plot twists. What I love about this film is its contemplative take on life’s unpredictability, nature, and our interconnectedness. Its quiet grace encourages deep reflection on the period of industrial transformation and the human toll of progress, a topic that remains pertinent to this day.

‘Beautiful, ain’t it?’ Yes, indeed, every bit of it!

Have you seen TRAIN DREAMS? Let me know what you think!