New Film on Historical Native American Murders Reflects Universal Themes, Says Scorsese 

(L-R) Osage Nation Princess Gianna "Gigi" Sieke, Osage Nation Princess Lawren "Lulu" Goodfox, Chad Renfro, Scott George, Julie O'Keefe, Brandy Lemon, film director Martin Scorsese, Osage Nation Principal Chief Geoffrey Standing Bear, Julie Standing Bear, Christopher Cote, and Addie Roanhorse attend the premiere of Apple Original Films' "Killers of the Flower Moon" at Alice Tully Hall at Lincoln Center in New York on September 27, 2023. (AFP)
(L-R) Osage Nation Princess Gianna "Gigi" Sieke, Osage Nation Princess Lawren "Lulu" Goodfox, Chad Renfro, Scott George, Julie O'Keefe, Brandy Lemon, film director Martin Scorsese, Osage Nation Principal Chief Geoffrey Standing Bear, Julie Standing Bear, Christopher Cote, and Addie Roanhorse attend the premiere of Apple Original Films' "Killers of the Flower Moon" at Alice Tully Hall at Lincoln Center in New York on September 27, 2023. (AFP)
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New Film on Historical Native American Murders Reflects Universal Themes, Says Scorsese 

(L-R) Osage Nation Princess Gianna "Gigi" Sieke, Osage Nation Princess Lawren "Lulu" Goodfox, Chad Renfro, Scott George, Julie O'Keefe, Brandy Lemon, film director Martin Scorsese, Osage Nation Principal Chief Geoffrey Standing Bear, Julie Standing Bear, Christopher Cote, and Addie Roanhorse attend the premiere of Apple Original Films' "Killers of the Flower Moon" at Alice Tully Hall at Lincoln Center in New York on September 27, 2023. (AFP)
(L-R) Osage Nation Princess Gianna "Gigi" Sieke, Osage Nation Princess Lawren "Lulu" Goodfox, Chad Renfro, Scott George, Julie O'Keefe, Brandy Lemon, film director Martin Scorsese, Osage Nation Principal Chief Geoffrey Standing Bear, Julie Standing Bear, Christopher Cote, and Addie Roanhorse attend the premiere of Apple Original Films' "Killers of the Flower Moon" at Alice Tully Hall at Lincoln Center in New York on September 27, 2023. (AFP)

Martin Scorsese, best known for his action-packed thrillers and gangster epics, now depicts an investigation into the murders of Native Americans in his latest film, "Killers of the Flower Moon", which previewed in New York on Wednesday.

Adapted from a nonfiction book of the same name, "Killers of the Flower Moon" tells the true story of the 1920s murders and disappearances of members of Osage Nation on oil-rich lands in the central US state of Oklahoma.

At a red carpet event at Manhattan's Lincoln Center, Scorsese told AFP his film about the 100-year-old crimes touched on broad themes.

"It's about a clash of cultures, misunderstanding each other, the sense of entitlement -- and it could be (about) not only Americans," Scorsese told AFP about the film, which he shot on Oklahoma's prairies with around 40 Osage Native Americans included in the cast.

The $200-million film stars Leonardo DiCaprio as Ernest Burkhart, a man in love with a Native American woman (played by Lily Gladstone) who finds himself embroiled in a plot hatched by oil-hungry cattle magnate William Hale, played by Robert De Niro. An FBI agent, Jesse Plemons, is assigned to solve the murders.

"Killers of the Flower Moon" will be released in North American cinemas on October 20, before being made available on Apple TV+.

The violence and crimes depicted in the film "could be in any part of the world," Scorsese said. "It just so happens to be a story that actually reflects through the millennia."

"It's good to tell this kind of story now because people are trying to shy away from this stuff. Show it, talk about it," the "Gangs of New York" and "Taxi Driver" director added.

American writer David Grann, whose book the film was based on, told AFP that the story covers "one of the most monstrous crimes and racial injustices committed by white settlers against Native Americans for their oil money."

"What it is fundamentally about is what happens when greed is fused together with the dehumanization of other people," the New Yorker journalist said. "And what that led to were these genocidal crimes."

Grann believes that the history of the Osage Tribe, and of many Native Americans across the United States, has been "largely erased from our conscious".

"It was not taught in any of my schoolbooks. I never learned about it," he said.

In 2021, President Joe Biden became the first US president to issue a proclamation for Indigenous Peoples' Day, which coincides with the increasingly controversial national holiday celebrating explorer Christopher Columbus.

Principal Chief of the Osage Nation Geoffrey Standing Bear also appeared at the red carpet event.

"It's not just the Osage people -- all of the Native peoples have had their hard times for 500 years," the North American leader said. "And this movie shows us it still goes on.

"It wasn't that long ago. It was my grandparents' generation when this movie, the facts in it, occurred."



Movie Review: Coon, Olsen and Lyonne Await a Father’s Death in ‘His Three Daughters’ 

This image released by Netflix shows, from left, Elizabeth Olsen, Carrie Coon and Natasha Lyonne in a scene from "His Three Daughters." (Netflix via AP)
This image released by Netflix shows, from left, Elizabeth Olsen, Carrie Coon and Natasha Lyonne in a scene from "His Three Daughters." (Netflix via AP)
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Movie Review: Coon, Olsen and Lyonne Await a Father’s Death in ‘His Three Daughters’ 

This image released by Netflix shows, from left, Elizabeth Olsen, Carrie Coon and Natasha Lyonne in a scene from "His Three Daughters." (Netflix via AP)
This image released by Netflix shows, from left, Elizabeth Olsen, Carrie Coon and Natasha Lyonne in a scene from "His Three Daughters." (Netflix via AP)

Death isn’t like it is in the movies, a character explains in “His Three Daughters.” Elizabeth Olsen’s Christina is telling her sisters, Katie (Carrie Coon) and Rachel (Natasha Lyonne), a story about their father, who became particularly agitated one evening while watching a movie on television in the aftermath of his wife’s passing.

It’s not exactly a fun memory, or present, for any of them. This is, after all, also a movie about death.

The three women have gathered in their father’s small New York apartment for his final days. He’s barely conscious, confined to a room that they take shifts monitoring as they wait out this agonizingly unspecific clock. But even absent the stresses of hospice, tensions would be high for Christina, Katie and Rachel, estranged and almost strangers who are about to lose the one thread still binding them. Taken together, it’s a pressure cooker and a wonderful showcase for three talented actors.

Writer-director Azazel Jacobs has scripted and filmed “His Three Daughters,” streaming Friday on Netflix, like a play. The dialogue often sounds more scripted than conversational (except for Lyonne, who makes everything sound her own); the locations are confined essentially to a handful of rooms in the apartment, with the communal courtyard providing the tiniest bit of breathing room.

Jacobs drops the audience into the middle of things, dolling out background and information slowly and purposefully. Coon’s Katie gets the first word, a monologue really, about the state of things as she sees it and how this is going to work. She’s the eldest, a type-A ball of anxiety, the mother of a difficult teenage daughter and the type of person who can barely conceal either disappointment or deep resentment.

Katie also lives in Brooklyn, not far from her father, but rarely ever visited. Caretaking duties were left to Lyonne’s Rachel, an unemployed stoner who never left home, likes to bet on football games and is poised to inherit the apartment – to the not-so-subtle resentment of her sisters. The youngest is Christina, a head-in-the-clouds, conflict averse yogi and Grateful Dead follower who lives across the country and has had to leave her 3-year-old for the first time.

Jacobs is unafraid of allowing both drama and humor to coexist, to seep into moments unexpectedly. There is an undeniable absurdity to the act of writing an obituary for a loved one in a fraught time like hospice that actually captures a life and a person and doesn’t sound like a laundry list of biographical facts and positive attributes. Add to that the fact that Katie is also frantically trying to get a medical professional to the apartment to witness a DNR order. The women are torn in premature grief, wanting him to stay alive but also go quickly.

They’re all richly drawn and perfectly mysterious too, even to themselves; Jacobs is too smart and attuned to how humans are to give anyone a simple, straightforward explanation. Everyone is making assumptions about others — many of them are wrong, or, at the very least misguided. Coon, with her booming, theatrical voice, is particularly suited playing this slightly terrifying, massively judgmental perfectionist. Lyonne, so good at cool deflection, gets to use that otherworldliness to hit a different kind of note: quiet heartbreak. And Olsen, playing a character, really shines in her non-verbal choices: A reaction, a moment alone that she doesn’t know is being observed. It won’t be surprising if any or all get some recognition this awards season (unfortunately in a system that is uniquely ill-equipped to fete small ensembles with three leads).

There are some movies that die quiet deaths on streaming-first (this did receive a bit of a theatrical run), but “His Three Daughters” is one that seems right on Netflix just for its ability to reach a larger audience than it would stand a chance to at the multiplex. It’s never not riveting watching it all unfold, even with the temptation of the phone nearby. Whether you make it a solo viewing experience or a group one might have everything to do with your own relationship with family members.

And to that initial indictment about movies not getting death right? It’s still probably true. But movies like “His Three Daughters” might help us all make a little bit more sense of the inevitable.