Movie Review - Cowboys (Outfest 2020)

The landscape captured and the way the characters dress, even later in the film when a horse is utilized, are clear indications that writer-director Anna Kerrigan is invoking the Western genre in this contemporary film of hers, particularly Western films that involved children in significant roles. Even with some of the names of characters, Kerrigan could be invoking such works as Shane (1953) or True Grit (1969). Yet, at the same time, Kerrigan's film would seem to deconstruct, if not subvert that genre a bit, especially in its depictions of masculinity. One easy way to do that is to simply put LGBTQ characters in a narrative within the Western genre or within that milieu. Such was the case with Brokeback Mountain (2005). That film though didn't mark the beginning of a wave of films that would be queer takes on the Western genre. If anything, Brokeback Mountain only cemented this idea, even in queer cinema, that two same-gender-loving people can only express themselves in seclusion or isolation or at a distance from whatever rural or rustic community from which they started. That idea is inherent here as well. The exception is that instead of gay men, it focuses on a prepubescent teenager who is transgender. It also does go further by leaning into that Western genre.

Otherwise, Kerrigan could simply have seen films like David Gordon Green's Joe (2014), Taika Waititi's Hunt for the Wilderpeople (2016) or Debra Granik's Leave No Trace (2018) and decided that she was going to make a film like that, but with a trans kid as the child in question. All those aforementioned films are about a child and adult man trying to survive either on the frontier or inside dense woods. However, Joe was more of a modern Western than the others, involving actual shootouts and lawless acts of people going after what they wanted, defending themselves or seeking justice, if not sheer revenge. Hunt for the Wilderpeople and Leave No Trace were perhaps more about identity, as well as nonconformity and bucking certain social norms or authorities. That's more where this film lands.

Steve Zahn (War for the Planet of the Apes and Rescue Dawn) stars as Troy Johnson, a man living in Montana. He was married. He's now separated, if not divorced, and has one child who is now probably 11 or 12. He seems to be a recovering alcoholic, as he appears to attend AA meetings. He also seems to suffer from some mental illness, as he carries around prescription pills that he has to take regularly. In that, he's very akin to the adult male character in Leave No Trace who suffered from PTSD as a result of being a military veteran. Troy's condition isn't as specified.

Yet, whatever the condition probably contributed to him losing custody of his child. It's stated that his wife has full custody, which doesn't include visitation. His ex-wife does allow him visitation, but she continually states that she isn't required to do so by law. All of this is shaken loose via flashbacks because the film opens with Troy kidnapping his child essentially, causing his wife to call the police and begin a manhunt, which becomes the driving force of this narrative.

Sasha Knight co-stars as Joe, the child in question. Joe is dressed like a girl but identifies as a boy. He's able to clearly articulate that. He does so to his father who is very amenable and understanding, as well as accepting of his gender identity. The problem lies mainly with Joe's mother who continually pushes Joe to identify as a girl. Joe merely wants to wear jeans, a cowboy hat and play with toy guns. What he wants to do isn't that unreasonable for a child of any gender living in a red state. Yet, it's implied that his mom ends her marriage to Troy over this issue, creating this rift that would make Troy want to kidnap Joe.

Like with a lot of films that have dealt with a transgender teen like 3 Generations (2015), A Kid Like Jake (2018) and Just Charlie (2018), the focus and the perspective are more on the parents than the trans-teen. This one like some of the latter, aforementioned titles balance that focus in a way that feels appropriate. Of course, Kerrigan could have provided more perspective and more point-of-view from Joe. Céline Sciamma's Tomboy (2011) is the only film I've seen that centers more exclusively on the child in question and their exploration of their gender identity. Yet, the impulse to depict this struggle between the parents is important, especially in that Troy is such a fighter for his trans-child. Zahn gives a very strong performance in that regard.

Jillian Bell (Rough Night and 22 Jump Street) also co-stars as Sally Johnson, the mother to Joe, the parent who keeps pushing against Joe's desire to be a boy. What the film does and what Bell's performance does are not paint the mom as a total, transphobic or homophobic monster. Even though one might not agree, her expression of her faith, frustration and fear regarding the sexism she's probably faced is powerful and understandable. Bell is great in this role.

Ann Dowd (The Handmaid's Tale and The Leftovers) rounds out the cast as Detective Erickson, the cop who is assigned to the kidnapping case. Dowd is always great in any role she takes. Her role here could be such a throwaway. Yet, the film gives her a bit fleshing out and some interesting interplay that makes her more engaging than the average cop would be in this situation.

Not Rated but contains some language.
Running Time: 1 hr. and 25 mins.

Streamed via OutfestNow.com.