jmatak-12847 Far too often in Hollywood, the stories and lives of Native Americans are told from an outsider's perspective. However, in Sterlin Harjo's Four Sheets to the Wind, the movie unfolds from the perspective of Cufe, a young Seminole/Creek from rural Oklahoma. Not only does this Native viewpoint add to the originality of the film's plot line, but it also helps to transport the reader to a world where poverty, alcoholism, and aspirations of escape coincide without ever crossing a line. Even though these themes are evident throughout the movie, Harjo makes a point to show that there is much more to Native American culture than what stereo typically meets the eye. For example, when Cufe is in a bar in downtown Tulsa with his sister's white neighbor, Francie, Cufe is seen having only a drink or two before leaving the bar with Francie. While this may seem like a very insignificant detail in an otherwise complex and well-thought-out plot line, it shows Harjo's commitment to creating characters who are able to transcend their traditional stereotypes and depict modern-day realities for Native Americans in an authentic light. In addition to the film's commitment to honoring Native American culture, the overall acting in the film is outstanding to say the least. Whether it be through Cora's (Jeri Arredondo) impassioned attempts to keep her family together in the aftermath of her husband's death, or Cufe's (Cody Lightning) struggle to discern just exactly what he wants to do with his life, Harjo excels in developing characters with multiple layers who the audience can relate to throughout the movie. Finally, yet another underrated portion of the film can be seen in its dedication to minimalist photography. Set in Harjo's hometown of Holdenville, OK, the backdrop to the film provides yet another glimpse into the many harsh realities faced by Native Americans forced to endure life on crowded reservations. All things considered, Four Sheets to the Wind is an excellent film committed to bridging the cultural gap between Native Americans and non-Indians through the use of multiple perspectives.

skoczak This carefully constructed and gritty film depicts native Americans coping with modern society however it also speaks to all of us who have suffered through a loss. It tells of some life journeys as the characters find and lose their way. I liked the way the film portrays the human condition plainly and directly and captures the realism of growing up in difficult times with psychological burdens that thread through the family's individual lives. Well done. The acting is superb and directing is a straightforward minimalist approach. There are sex scenes that are in context for the movie but may offend some viewers. The entire movie is for mature viewers. The ensemble cast just does a great job. I would recommend this film for all who crave a non Hollywood non stereotypical movie without pretense in the true style of excellent independent films.

Oh Buh Awesome acting skills in this movie! I'm originally from Oklahoma so it's nice to see natives representing Oklahoma.It is a great combination of laughter and sadness all wrapped into one great movie.From a male perspective, the females in this movie are hot.I think Thalia Twins is the hottest one of them all! This movie is going to be a great x-mas present for all my native friends.I hope to see more films like this in the future. I hope to see Thalia Twins in more films as well. I am recommending this movie everyone. Two thumbs up!

jonathan-577 The Oklahoma-shot opener of this year's ImagineNative film festival is watchable, balanced in tone, and mostly looks damn good for HD. The humour works, the dialogue doesn't clunk, and the actors have some really solid moments. And though for a while I thought this was going be one of those mute-protagonist-watches-the-wacky-world-unfold jobbers which I so despise, in fact Cody Lightning's performance eventually lets us into his head. But the problems start early: key dialogue scenes play like talk shows, cutting between closeups on the line in a mechanical and distracting way. And the movie avoids melodramatic cliché not by subverting the paradigm, but by glossing over the big crying scenes via nervous montage. Why not trade in some of the staring off into space (speaking of cliché!) for some more of the detailed interaction that works so well when they've got it going? I don't think you can blame this superficiality on the budget; I think it's a lack of confidence on the part of the director, which would also explain the wall-to-wall music that eventually comes close to suffocating the movie entirely.