Movies

‘Dark Winds’ star Zahn McClarnon and director Erica Tremblay on unpacking trauma in a ‘safe and beautiful’ way

BBG News

The plot ahead reveals key details from ‘Dark Winds’ Season 3, Episode 6 titled ‘Ábidoo’niidęę (What He Had Been Told), so beware if you wish to avoid spoilers.

During the filming of a crucial scene in “Dark Winds,” specifically for the episode titled “Ábidoo’niidęę (What He Had Been Told),” lead actor Zahn McClarnon requested that director Erica Tremblay take his hand.

In a drug-induced, dreamlike state filled with painful recollections from his past, Joe Leaphorn (played by McClarnon) finds himself reminiscing about his youth, specifically an instance where he was helpless as he watched his cousin being taken away forcefully by a cruel priest, all while off-screen Tremblay’s arm is clutched tightly by the actor. The camera zooms in on Leaphorn’s emotional response to these haunting memories.

During a recent conversation, McClarnon shared, “As an actor, I’m undeniably using experiences from my own life, and we all have gone through painful pasts and significant events. For me, I had a protected environment to explore those feelings. … What I can’t emphasize enough is the incredible support I received from my cast and crew – not just Erica, but everyone – and how crucial it is for me as an actor to be in a setting where I can freely expose myself.

In its third series, “Dark Winds” chronicles Detective Leaphorn and some of his fellow current and past officers as they tackle crimes and uphold law and order within the Navajo Nation. Each season delves into a fresh enigma, offering insights into Navajo tribal customs and society, along with broader systemic problems that impact the community. Originating from the mind of Graham Roland, this AMC and AMC+ crime drama is inspired by Tony Hillerman’s “Leaphorn & Chee” novel series.

In Season 3, Leaphorn is investigating the vanishing of two young lads while simultaneously grappling with the ethical and judicial ramifications of choosing to let a man – who was responsible for his son’s death – perish. While he made this choice due to understanding that seeking justice any other way would be impossible, Leaphorn has been wrestling with the remorse that stems from this decision.

According to McClarnon, his character is firmly grounded in principles. He grapples with both maintaining the traditions of a Navajo person and upholding the law, which often conflicts due to cultural differences and colonial influences. This internal conflict between Native American justice, white justice, tradition, and colonization, as well as other personal struggles, are deeply rooted within Joe’s mind.

In “Ábidoo’niidęę (What He Had Been Told),” Leaphorn experiences a tranquilizer-induced delirium. As McClarnon explains, during this dreamlike state, Leaphorn revisits a deeply traumatic incident from his past and acknowledges that he has deceived himself throughout his adulthood by distorting the truth about that event. The memories of his past, as he recalled them in his youth, were not accurate reflections of what actually occurred.

In my perspective as a film critic, the haunting narrative of “Leaphorn” delves into a long-suppressed memory of a local priest from the church, who abused his younger relative – a cousin – and other members of the community, an issue that has cast a dark shadow over numerous tribal communities. This poignant revelation is skillfully unfolded by Tremblay.

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Tremblay, serving as a supervising producer among us Native writers, shared that each of us has personal or familial encounters with trauma related to this topic.

In this situation, the director prioritized maintaining safety, especially during the scene where Leaphorn witnesses abuse. To achieve this, she decided to film it on a restricted set, with an intimacy coordinator present. Additionally, traditional healing methods and safe areas were provided for anyone who desired them.

According to Tremblay, he and Zahn had several discussions about that particular scene beforehand. They filmed multiple takes for it. Zahn preferred to film his part last, so we shot everyone else first, then focused the camera on him. This way, he delivered his lines at the end of the scene. His performances were exceptional, but they all showed anger – a very reasonable emotional response to what he’s witnessing in the scene.

However, when Tremblay prompted McClarnon to consider if there might be another answer lurking in him, he attempted one final try. This last recording, during which he sought reinforcement from Tremblay, was the one chosen for the concluding edit of the episode.

In his role as a director, Tremblay finds nothing more significant than being trusted by the actors. This trust, he explains, was special because it was mutual, it provided a secure environment, and it was strengthened by their shared background – Zahn and him being Native people. With this bond, they could venture into a deeply emotional space, one that was both painful and safe, and ultimately, truly beautiful.

The narrative, penned by Max Hurwitz and Billy Luther, navigates between Leaphorn’s recollections from a dream-like state, the real confrontation Leaphorn is involved in, and a retelling of the ancient Navajo tale concerning the Hero Twins fighting against the fearsome creature called the Ye’iitsoh.

McClarnon explains that “Ye’iitsoh” translates to ‘a large, fear-inducing entity.’ Throughout this season, the ominous presence of Ye’iitsoh has cast a shadow over the events, enveloping both the enigma surrounding the lost children and Leaphorn’s remorse. In Leaphorn’s dream, the Ye’iitsoh is symbolized by an abusive priest.

Tremblay explains, “Being Seneca-Cayuga, the Haudenosaunee tales I was raised on have profoundly influenced how I lead my life.” He continues, “The Ye’iitsoh story… endures because it’s an exceptional narrative.” He further adds, “As writers, it would be neglectful of us not to draw inspiration from these stories. They aren’t just a rich source of traditional Navajo values, but also a treasure trove of captivating ideas that have survived for millennia.

Discovering deeper insights into the Diné, or Navajo, culture has been a particularly fulfilling part of McClarnon’s experience working on “Dark Winds.

The actor, who has Lakota, Irish, and German ancestry, clarifies, “Our show doesn’t portray the Navajo community.” However, he adds, “If ‘Dark Winds’ encourages viewers to explore the Navajo Nation, interact with its people, and gain insights into their culture, that’s a beneficial outcome.

He further notes that if the show encourages greater participation among people in political, economic, environmental arenas, and serves as an educational tool, then it’s considered successful.

Television

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McClarnon mentions that it wasn’t until his junior high years that he began to ponder his personal identity more deeply. His Lakota mother hails from the Standing Rock Reservation, residing in Fort Yates, N.D., before her family relocated to Browning, Mont., on the Blackfeet Reservation. Although McClarnon spent time on the reservation visiting relatives, he was primarily raised approximately 20 miles away in Glacier National Park.

McClarnon admits that there were moments when he found it challenging, explaining that his dual heritage – being both white and Native American – made it tough for him to fully belong in either community at times.

He shared that he didn’t become deeply involved in his cultural practices until he was around 13 or 14 years old. At this time, he began participating in ceremonies, such as the inípi ceremony, which is a sweat lodge, thereby gaining a deeper understanding of the spiritual aspects of his culture.

A seasoned professional with a background in shows such as “Reservation Dogs,” “Echo,” “Westworld,” and “Longmire,” McClarnon expresses optimism about the increase in Native American portrayals and narratives. However, he yearns for greater diversity in executive roles at networks and among producers.

McClarnon states, “We’re gradually breaking down those longstanding stereotypes and cliches, which is crucial.” He continues, “We have a stronger voice, and we’re sharing our own experiences. We’re doing so honestly, ensuring that native children can identify with film and television characters in a positive, non-stereotypical manner.

“We’ve got a ways to go,” he says. But “we’re going to continue this journey and that’s important.”

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2025-04-15 22:31

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