Cinema Scholars reviews To Kill A Wolf, an official selection at the Austin Film Festival 2024. The film is directed by Kelsey Taylor and stars Ivan Martin and Maddison Brown. The Austin Film Festival takes place in the Texas capital from October 24-31st.
Introduction
Everyone loves a good odd couple story. Whether it’s generational, gender, political, lifestyle, or otherwise, stories about opposites bonding often hit that heartwarming sweet spot. In some cases, that dynamic may be the only glimmer of hope in the entire situation.
In Kelsey Taylor’s feature directorial debut, To Kill A Wolf, this dynamic is the saving grace for an otherwise bleak but powerful film.
Synopsis
In a remote Oregon forest, a reclusive man lives a solitary life among the towering trees and wolves that populate his land. By day, the hermit pans the forest floor for wolf traps he secretly disengages much to the chagrin of local ranchers. By night he listens to music on an old turntable that he carefully repairs on the regular.
During one of his daily expeditions deep in the maze of endless trees, he happens upon a semi-conscious teenage girl named Dani. Hours away from the closest hospital and without means of communication (it’s the early cell phone era and he has no landline), he decides to bring the girl home to help her regain her strength.
While the two introverts become acquainted and the woodsman attempts to reunite Dani with her family, disturbing details about her situation begin to emerge. As a result, the Good Samaritan soon finds himself as a protector as well as a savior.
Analysis
To Kill A Wolf is a mysterious drama all the way. Heavy and brooding, Taylor takes her time letting the story unfold in chapters and flashbacks. Though there are a few lighthearted moments in the film, the overall tone is super serious. While this might make the story sound moody and morose, the general slow pacing and relative quiet keep the film from being a total bummer.
In fact, these attributes make the film incredibly compelling. Much like commanding attention by speaking to a person quietly, Taylor uses a slow, steady pace and subdued theatrics to build intrigue as well as sympathy for both of her main characters. In turn, the placid feel of the film mirrors the characters’ isolation, literally and emotionally. Additionally, gorgeous imagery of the forest also helps to capture the tranquil escape both of them are in search of.
Performances
As Dani, Maddison Brown keeps it subtle in the role of the troubled girl. Mostly quiet and reserved, Brown’s heartbreaking performance duly illustrates the timidity of a teen in the middle of a trauma response. While Brown captures the obvious immature, wayward nature of a teen in such a situation, she also injects the character with satisfying resolve when the “red riding hood” must contend with wolves- both canine and human.
Ivan Martin is equally reserved as the mysterious woodsman. As his tragic backstory gradually comes to light, Martin’s take on the troubled character makes more sense in hindsight. His subdued, deadpan demeanor becomes a balm amid the drama as his character becomes a champion for his unexpected charge.
Conclusion
Hypnotic in its restraint, To Kill A Wolf is a thoughtful and sober story about an unlikely duo ultimately becoming mutual saviors. Though the whole middle-aged man/teenage girl dynamic can be tricky, Taylor’s careful handling of the story makes the pairing incredibly endearing. Think Stranger Things’ Hopper and Eleven.
Though To Kill A Wolf is painstaking and unhurried in its execution, the final result is a profound and satisfying exercise in compassion and unexpected camaraderie.
