To Kill a Wolf marks a confident and deeply accomplished feature directorial debut for Kelsey Taylor as she updates the Red Riding Hood fable.
Director Kelsey Taylor makes her feature directorial debut with the Oregon-set To Kill a Wolf. The film would be an accomplished feature for any filmmaker. That it is Taylor’s first makes it a true stunner.
To Kill a Wolf stars Ivan Martin (What We Do In the Shadows) as The Woodsman, a man who lives in self-imposed isolation in the Oregon wilderness. He stumbles upon half-dead Dani (Maddison Brown) and nurses her back to health, much like the wolves he rescues from a local rancher’s harmful traps. Dani, of course, holds secrets of her own, and The Woodsman tries to help bring her back to civilization. All Dani wants to do, however, is hide.
And that’s all you need to know about the story.
On the surface, To Kill a Wolf seems deceptively simple.
Martin’s strong physicality nicely contrasts with his haunted eyes, and he makes a compelling presence to orient us through the near-wordless opening sequences. Paired with Brown, he adopts a father-figure persona that fits well. He’s never threatening, always gentle with her as she recuperates from personal trauma. The pair make an immediately sympathetic bond, an intriguing pairing that the audience wants to explore and fully understand. Both actors give strong, committed performances free of actorly vanities. The roles feel lived-in, authentic, and expertly delivered.
But the true star of the film, however, remains writer-director Kelsey Taylor.
The film flows with an exuberant confidence. Taylor quietly allows her camera to capture the majesty and stark beauty of the Oregan wilderness, a very wise move. She invests time in wordless sequences that build our attachments to the characters without using vapid dialogue to tell us what we need to know. She understands the importance of maintaining tension through all the cinematic tricks at her disposal. Additionally, her screenplay never feels frivolous or our reactions unearned. I am most immediately reminded of Debra Granik’s work, particularly Winter’s Bone. Both artists hold a deep appreciation for the natural world and value the art of atmosphere building.
To Kill a Wolf would make any filmmaker proud. It’s that good. Honestly, I cannot wait to see what Taylor does next.
To Kill a Wolf plays SBIFF on February 9 and 10. Check listings for details.
