“Broken Land” follows Carson Tidwell, a reclusive rancher on the Texas/Mexico border who mistakenly shoots a young migrant woman as she crosses his property. From there, he must decide whether to help the girl continue on her journey into the United States.
The first third of “Broken Land” is entirely dedicated to world-building. Most people speaking about immigration policies don’t actually live it. Many assume that migrants are “criminals” or “job stealers.” Usually, this isn’t the case. The film spends time examining the ins and outs of the town, including Carson’s role (or lack thereof) in it. Because of this, not a lot happens over the opening 45 minutes. However, the conversations within make it purposeful.
After the initial quietness, the film grows louder. Not in the sense of onscreen action, but more so through its eventual impact.
Rather than focusing on an individual with strong beliefs, it follows a man who is seemingly unopinionated. He doesn’t care to look away, but he also doesn’t want to help. Viewers will likely go into “Broken Land” with their own opinions on the subject. Director J.T. Walker’s approach makes it abundantly clear that he is here to tell a story, not push an agenda… outside of basic human decency.
“Overcoming the political clichés that prevent us from recognizing our shared humanity is an ongoing challenge,” Walker said. “My hope is that ‘Broken Land’ will once again encourage us to truly see one another — just as its characters ultimately do.”
David Morse (Carson) delivers a layered performance. He starts off wholly hard-headed and stubborn, gradually growing into a more empathetic figure. Morse doesn’t always say a lot of words, but he is able to show his contemplative and apprehensive feelings through simple facial expressions. Acting opposite Morse is Jaklyn Bejarano (Irena). She plays into a fierce and desperate persona, but grows calmer as the runtime progresses. The two bounce off each other well, with their ever-changing delivery showing that the characters may have more in common than it seems.
Also in the film is Bill Heck (Harley Tidwell). Playing Carson’s border patrol agent son, he is the “divide” between Morse and Bejarano’s characters. While not as integral as the two leads, Heck remains an important part of the story by avoiding clichés and instead delivering a grounded performance.
This doesn’t mean that “Broken Land” is devoid of clichés entirely, though. The core of the film follows a tried-and-true formula — think “Green Book” or “Planes, Trains and Automobiles” — where two opposite characters form a connection. The personal premise adds distinction here, but the basic story isn’t inherently different from countless movies of the past.
The commitment to character development keeps “Broken Land” engaging even in its dullest moments. Outside of the evident immigration plotline is a story about grief, connection and healing. Walker and Christopher Young’s script weaves these elements into one cohesive narrative. This is because of the complex individuals. As the story evolves, character decisions feel authentic and earned due to their realistic backgrounds. Nobody in the film is portrayed as “perfect.” They’re just attempting to do what they think is right.
One bold choice that it makes is keeping Irena’s dialogue without integrated subtitles. She speaks a mixture of Spanish and English in the film, but viewers understand her just as Carson does. It highlights their differences, but also how humans can mutually find ways to understand each other. It’s a small detail that does wonders for this specific story.
Shot entirely on location in the Nueces Strip of South Texas, the film features stunning scenery. Director of photography Sara Purgatorio captures the vast landscapes well. The visuals themselves can’t be labeled as “beautiful,” but they aren’t trying to be. The rundown ranch and the desolate environment around it serve as an example of the “broken land” on which it lies.
This isn’t going to be a movie for the masses. Of course, there will be many who immediately dismiss it because of the premise alone. There’s also the fact that it’s the definition of a slow burn. “Broken Land” doesn’t feature the action-packed car chases or wall climbing that you might expect. This makes segments of the 100-minute runtime especially slow. However, it also means that the film stays true to its intimate identity until the very end.
“Broken Land” is a film for a fractured America but not about a fractured America. It’s a powerful story about connection amidst differences.
Rating: 3.5 out of 5
