Direction: Laure De Clermont-Tonnerre
Laure De Clermont-Tonnerre’s feature debut The Mustang is a drama with backbone but also with plenty of familiarities. Anchored by Matthias Schoenaerts’s sober performance, the film tells the story of Roman Coleman, an inmate, emotionally destructed by a crime committed within his own family. He finds redemption through an outdoor rehabilitation program that encompasses the training of wild, free-roaming horses, which will posteriorly be sold to the public in auctions. Clermont-Tonnerre, who co-wrote with Mona Fastvold and Brock Norman Brock, got the idea from the real rehabilitation program that exists in Carson, Nevada.
As he attempts to tame a horse as wild as he is, Coleman finds a valid opportunity to forgive himself, regaining confidence and easing the grief that has been consuming him for 12 years. This fact also allows him to reconnect with his daughter, Martha (Gideon Adlon), who is expecting a child. He accomplishes the mission with the help of Henry (Jason Mitchell), a fellow convict who happens to be the best horse trainer in the facility, and under the guidance of Myles (Bruce Dern), a rancher who, despite sarcastic, believes in his capacities. On the other side, there’s the vicious Dan (Josh Stewart), Coleman’s cellmate, who gives everybody a hard time.
The film is not devoid of weaknesses, presenting episodes whose repercussions are overlooked and then forgotten - the conflict with Dan is a blatant example. Simplistic, predictable, and visually unimpressive, the well-intentioned The Mustang discloses some aspects the majority of us don’t know about American prisons. However, it not only lacks genuine emotional force in several scenes but also structural stability to fully succeed.