Review: Native women are at the heart of the haunted ‘Fancy Dance’ — and also its victims

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As a dedicated cinephile with a deep appreciation for films that explore the complexities of human experiences, I find “Fancy Dance” to be a powerful and poignant addition to the cinematic landscape. The film’s evocative imagery, led by Lily Gladstone’s riveting performance as Jax, is beautifully complemented by Erica Tremblay’s deft direction and insightful co-writing with Miciana Alise.

As a cinephile, I can tell you that Lily Gladstone delivers a powerful performance in “Fancy Dance.” The film is set against the evocative backdrop of life on an Oklahoma reservation and the complex interplay of Indigenous communities and white privilege. However, it’s the haunting presence of a missing Indigenous woman that truly captivates the heart of this thoughtful indie drama. Director-co-writer Erica Tremblay masterfully explores the delicate balance between absence and presence in her lived-in debut feature.

Tremblay, a Seneca-Cayuga filmmaker recognized for documentaries and the acclaimed short film “Little Chief” featuring Gladstone, brings authenticity to “Fancy Dance,” which she co-wrote with Miciana Alise. Her deep connection to the place allows her to portray both the comforting corners and the daily struggles of Native communities. In addition to introducing Jax (Gladstone), a resilient woman searching for her sister while often finding herself in trouble, Trembly also explores the healing power of relationships, specifically between an aunt and niece, as they navigate through a world that seems indifferent to their pain.

Jax is currently looking after her teenage niece Roki (Isabel Deroy-Olsen), as Roki’s mother, Tawi, has been missing from their reservation for two weeks. Tawi, who works at a local strip club as a dancer, was set to perform with Roki at the upcoming powwow in Tulsa. Despite Jax’s concerns, Roki seems unfazed and hasn’t been informed of her mother’s disappearance. However, Jax, who has a lenient guardianship and teaches Roki street smarts, is trying to protect her from a potential dangerous situation. With the tribal police, including Jax’s own brother, struggling to handle the case, and the federal authorities showing little interest in the high rate of missing and murdered people on reservations, the search for Tawi feels like a solitary endeavor for Jax.

When Jax, with a criminal background, loses guardianship of Roki to her grandparents, Frank (Shea Whigham) and Audrey Wasilewski, the circumstances grow more complicated. Despite their newfound efforts, Frank and his wife don’t engage with Roki’s cherished culture. In an attempt to keep Roki near and possibly uncover the truth about Tawi, Jax abducts her, disguising her kidnapping as a visit to the powwow to meet her mom. The hauntingly beautiful music of Samantha Crain, with its tribal harmonies and minimalist tunes, subtly accompanies these poignant scenes as if guiding the characters’ spirits.

Indisputably, Gladstone’s collection of complex and authentic Indigenous characters in film stands out as one of the most captivating offerings today. This is a long-overdue response to the movie industry’s past mistakes of making Indigenous people invisible. Jax, a character portrayed by Gladstone, is queer, prone to vices, and fiercely determined to teach Cayuga to Roki. Jax embodies resilience and concern, constantly wary but deeply certain of what needs preservation. Sadly, the portrayal of Roki’s character falls short in conveying genuine innocence, leaving her inconsistent with the story. When not burdened by awkward expositions or rigidly defined beliefs, Deroy-Olsen delivers a compelling performance as Jax’s counterpart, offering an engaging partnership to the inner turmoil of Gladstone’s character.

There are some script logic issues, too, starting with why authorities would blanket the media with an Amber Alert for Roki when the problem being conveyed is the law’s apathy toward missing Indigenous women. And yet Tremblay’s template for on-the-run suspense is effective, primarily by avoiding the exploitative in favor of scenes that drive home the feeling of lives susceptible to being uprooted.

Tremblay continues to raise concerns about an unpredictable and inconsistent legal system, as shown in a heated interaction with an Immigration and Customs Enforcement officer. However, her primary focus is on reaching the emotional peak she values, which provides a compelling portrayal of how Native women‘s vibrant and lively traditions of respect and celebration bridge generations, despite their limited trust in others. In “Fancy Dance,” the absence of loved ones represents an urgent issue, yet it’s crucial not to jeopardize the significance of our cultural practices that bring closure.

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2024-07-18 18:43