![]() ![]() Many viewers have found the scenes of Ree’s beating (along with the sight of her bloody and battered condition afterwards) and the sawing of her father’s hands shattering to behold. At their direction, she pulls his corpse partly out of the water and, weeping, holds his rigid arms while Mareb chainsaws off both hands-providing Ree with the evidence of her father’s death that she needs to save the house and land. In an eerily powerful scene of movement in a small boat across a moonlit swamp, the women bring Ree to the freezing shallows where her father’s body has been hidden. Soon, the three women turn up on the front porch of Ree’s family’s imperiled home, this time offering to take her to where she’ll find her father. Ree’s beating turns the plot of the story. When she refuses to stop pushing for an answer, these warnings culminate in her being severely beaten by Thump’s wife Mareb and Mareb’s sisters. Ree is repeatedly warned not to “trouble” male kinfolk such as family patriarch Thump Milton Dolly (a white-bearded man who wears heavy biker regalia). Ree’s determination to find her father, dead or alive, enrages some of the meanest members of the Dolly clan, who have their own pressing reasons for not wanting anyone to solve the mystery of Jessup Dolly’s disappearance. She is the daughter of a catatonic mother and a meth-cooking father who has not only disappeared with the law hot on his tail, but-Ree learns at the beginning of the film-has put the family’s house and land up as part of his bail bond. Reviewĭebra Granik’s film Winter’s Bone (2010) tells the story of seventeen-year-old Ree Dolly, big sister and stand-in parent to two younger siblings. ![]() Spoiler alert: this review contains details of the plot. This review finds additional contexts for the film in regional music and the long-established "dark-fairytale" tradition of the Appalachians and the Ozarks. In their review of the 2010 independent film Winter’s Bone, Michael Moon and Colin Talley draw upon the concept of the “shatter zone” in order to illuminate the local features of the film as well as to locate its place in the history of hill regions as sites of refuge and resistance. ![]()
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