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Meek's Cutoff · reception & legacy

2011 · Kelly Reichardt

How Meek's Cutoff has been received, argued over, and remembered.

The arc

Famously divisive on release — its glacial pace prompted walkouts and even refund demands from arthouse audiences even as critics swooned at Venice 2010 — it's since been canonised as one of the great 21st-century westerns and a cornerstone of Kelly Reichardt's reputation.

What's debated

The abrupt, unresolved ending is the eternal flashpoint — half of film Twitter calls it the whole point, the other half still feels robbed.

Its footprint

It's the standard citation in the 'slow cinema' and aspect-ratio conversations — the boxy 1.33:1 frame and those bonnet-shrouded women are among the most discussed formal choices in modern American indie film.

Where it stands

A Letterboxd-era canon climber: a fixture on best-westerns-of-the-century lists and the film people reach for when arguing Reichardt is a major American director.

★ Did you know? Reichardt shot the film in the old-fashioned square Academy ratio (1.33:1) partly to mimic the restricted, blinkered view the women would have had from inside their bonnets — the opposite of the widescreen vistas the western genre is built on.