Anti-western
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Inspired by David Grann’s investigation, the filmmaker takes a dark and virtuoso look at the origins of the United States in his anti-western by replaying, in Oklahoma in the 1920s, the tragedy of the Osage. Once extremely wealthy thanks to the black gold of their lands, the indigenous people are soon devoured by a series of unpunished murders.
So, at the twilight of his life, like an old wizard holding at his fingertips the secrets and bundles of his mastery, of his virtuosity as an organizer of a total spectacle, Martin Scorsese will have chosen to compose this terrible film on the original fault the United States. As if, looking back at his decades of cinema, having nothing more to prove, the filmmaker had found himself plagued by a gap, a blind spot in his filmography, the massacre of indigenous populations on which this film was built. country. Like a debt which he, the filmmaker of possible redemption, would have liked to repay, to which he would at the very least offer the full power of his means. Living with guilt, and what to do about it? To speak, at the last movement of his film, at the last moment of his life, to, in a heartbreaking moment, offer a sober tomb to those who perished because of the settlers, to Mollie Kyle, the Osage native , and to all his own, to all the others, while wiping away a tear, each spectator, grabbed by the collar and thrown into this torrent of venom, would be summoned to throw “a serious look at who we are, as a culture”, according to the filmmaker’s wish. Killers of the Flower Moon, beautiful Scorsesian anti-western, first flirtation with the