East of Wall

by Mike McGranaghan

East of Wall is perfect for fans of the Oscar-winning Nomadland. Both blur the line between fiction and reality, incorporating real people and locations into a written narrative. Stars Tabatha and Porshia Zimiga are an actual mother and daughter playing themselves, and the film is inspired by events from their lives. They do their own stunts, too. Director Kate Beecroft embedded herself in their world for several years to create this dazzlingly authentic film.

Tabatha is a widow, as well as a noted horse trainer. Porshia does trick riding maneuvers on those horses to show auction buyers how dependable they are. Conflict is frequent, especially since Tabatha has taken in a bunch of wayward teenagers who don’t fit comfortably in the trailer where they live. One day, she’s approached by wealthy businessman Roy Waters (Scoot McNairy). He offers to buy her land and her business. She has to decide whether to take the money – and get out of continual debt – or hold on to what little she has, even if it bankrupts her.

That’s the technical plot. East of Wall is less of a focused story and more of a character study. Large amounts of time are spent showing Tabatha training horses, clashing with Porshia, and trying to do right by the teens in her care. With her partially shaved head and copious tattoos, she’s a badass single mother juggling life and career as best she can. Because Zimiga is playing herself, there’s sincerity to the performance that you don’t really get when a professional actor plays a role. You’re guaranteed to be captivated by her.

The movie benefits from exploring the minutia of Tabatha’s horse training business. Beecroft’s documentary-like approach plunges you into the scene, allowing you to grasp the everyday struggles that she faces. I wouldn’t have expected to find the ins and outs so fascinating, but this is part of the magic of movies – they build empathy by putting us in somebody else’s shoes for two hours. Similar attention to detail in Tabatha’s personal life does the same thing, so that her need to make a decision on Roy’s offer carries weight. Many people will be impacted by the outcome, and you find yourself debating the pros and cons right alongside her.

East of Wall would have been even better with a slightly more developed narrative. The tenuous relationship between Roy and Tabatha has avenues that aren’t entirely explored, specifically the implication that a man coming in and wanting to take over her business irks the independent-minded Tabatha. I would have liked a few additional scenes between the two, simply to increase the underlying tension between them.

The most important elements are right on the money, though. The film’s observational nature brings Tabatha’s hardscrabble existence alive. Austin Shelton’s gorgeous cinematography helps sustain the mood. East of Wall is a special picture that pays tribute to the millions of Americans like Tabatha – decent people working hard every day just to get by.

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