The Retrieval Full Movie
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The Retrieval,’ a Civil War Drama. Photo. Tishuan Scott, left, and Ashton Sanders in “The Retrieval,” a Civil War drama written and directed by Chris Eska. Credit. Variance Films A tough, tender little movie, “The Retrieval” tells a story of divided souls wandering a divided land. It takes place in 1. Civil War ended, and opens in the dead of night. As cannons boom in the distance, a 1.
Directed by Chris Eska. With Ashton Sanders, Tishuan Scott, Keston John, Bill Oberst Jr. On the outskirts of the U.S. Civil War, a boy is sent north by his bounty.
Shortly after the boy settles in next to a few black fugitives — one silently hands him food — he slips out to alert his employers, white bounty hunters who quickly torch the barn and capture the fugitives, who fetch as much as $6. Money changes hands throughout “The Retrieval,” passed from man to man in bloody communion. The boy, Will (Ashton Sanders), carries around a coin given to him by his long- gone father. With no family or home, he clings to it and to a man he calls uncle, Marcus (Keston John), a black mercenary with fast, cruel hands.
It’s unclear how they ended up working for the bounty hunters, who are led by the foreboding Burrell (Bill Oberst Jr.). After the gang captures the fugitives, Burrell pays Marcus, who then tosses Will some coins. FR-EE Piggy Full Movie on this page. There’s pathos in how Will scrambles for his meager pay and also in his reluctance to feed the fugitives, whining that it isn’t his turn.
Written, directed and edited by Chris Eska, “The Retrieval” is modest in means and narrative scope. Its heft comes from the moral awakening at its center, which involves the humanization of a black adolescent who, however nominally free, is captive to a system that reduces human relationships to financial transactions. The story follows Will and Marcus as they, under orders from Burrell, go north to bring back a black man, Nate (Tishuan Scott).
Will and Marcus find Nate digging graves for the Union and persuade him to return south to visit his brother, whom they say is dying. Initially reluctant or just wary, Nate at last agrees, and together they head off into a wintry landscape wreathed in a spectral blue light and speckled with leafless trees and corpses. Mr. Eska’s choices are thoughtful if sometimes studied: the movie is well cast with solid performers, and if the handsome digital images look overly sharp, as if outlined in razor, he consistently makes the most of his limited resources. Mr. John, Mr. Oberst and Mr.
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Scott have faces that you want to spend time searching, and the cinematographer, Yasu Tanida, knows how to shoot African- Americans; here, they don’t ebb into shadow because the scenes were lighted for their white co- stars. This is also a movie made for the big screen: there are plenty of TV- ready medium and head- and- shoulder close- ups, but Mr.
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Eska uses tight ones sparingly and has a feel for landscape, often showing the characters framed against the trees, pale sky and pooling night, as if to emphasize the world in which they exist. Continue reading the main story.
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