Written by Patrick Hao
In the past month there have been unprecedented heat waves and forest fires in the Pacific Northwest, a fire in the Gulf of Mexico from broken gas pipes(the ocean was on actual FIRE), and melting polar ice caps. With the hubris of humans on Earth causing these climate disasters, the uber-rich have begun imagining a way to travel and colonize Mars. Director Wyatt Rockefeller (yes of those Rockefeller’s) unsuccessfully tries distilling these current anxieties of unending resource consumption, greed, and colonization into the film Settlers, a grim neo-western set on Mars.
Set in the future, years after the Mars atmosphere has been made inhabitable for humans (the how is never explained) and settlements have come and gone, Settlers follows a family consisting of Reza (Jonny Lee Miller), his wife Ilsa (Sofia Boutella), and their daughter Remmy (Brooklynn Prince) on a farm, seemingly surrounded only by a vast landscape. Their anxiety soon ratchets up when it becomes clear that the family is not alone, as they begin to hear howls in the distance and the message of “Leave” is left on their window. It is revealed that the family had acquired the farm through violent means, as they begin to be terrorized by Jerry (Ismael Cruz Córdova), the son of the farm’s former occupants who wants to reclaim his land.
Rockefeller gets a lot of mileage from filming on location in the beautiful Vioolsdrif desert in South America. Filmed with the typical red hue to denote Mars, the homestead ranch juxtaposed against the miles of barren landscape really highlights the themes of isolation and loneliness that run throughout the film. Rockefeller uses the filmic language of the Classic Hollywood western to draw parallels between the old notions of settlements of the Western Frontier in the 1800’s and all the complications that comes with, and that of a possible Mars settlement.
However, the film’s allegories become muddled with its confused depiction of Jerry. The character seems to be an amalgamation of all the movie tropes of an indigenous character from an old western. He is, on one hand, in tune with nature as he is cultivates the homestead’s land for much needed resources, and, on the other hand, craven in his desires, especially sexually. His character design, as well, draws troubling comparisons to indigenous people. Any criticisms of colonialism and human greed are undermined by the shortsightedness of a depiction such as this.
Problematic depictions aside, the film quickly becomes dramatically inert after a tense first act. The film relies too much on long meandering stretches of brooding characters completing chores. While it creates a good atmosphere, there is not enough thematic underpinnings that warrant such long stretches. The film is never as thrilling or suspenseful as the opening third and premise suggests. Settlers ultimately feels like a first film, grand in ambition, but shallow in thought. Rockefeller certainly has the eye for a striking image and the ability to stretch a budget. The film is admirable in its earnestness in wanting to engage with the heady issues that underpins the film, but never seems to connect any of the sociopolitical implications of the film beyond humans having the capacity to be “bad.”
Settlers is currently available to purchase and rent on most digital storefronts.
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