Gunfighter Paradise (2024) Film Review
The first question that comes to mind after going through the experience of Jethro Waters‘ Gunfighter Paradise is if maybe there wasn’t another way to tell the story. It isn’t a friendly film at all, and most viewers will scratch their heads trying to come to terms with a movie that is about many things that aren’t exactly what you see at first glance. But the beauty of such a film lies in that inevitable discovery that the film will drive you to try. Once you get past the symbolism, the comedy tone, and perhaps the repetitive aspect of the narrative, you will find something interesting. But yes, Gunfighter Paradise is a film that requires something from the viewer, as sinful as that may sound in modern times.
The film tells the story of Stoner, a grieving dude who returns to his childhood home in North Carolina after his mom passes away. The memories are much too strong and invasive, and Stoner finds himself in a bit of a trance. After a few encounters, we see where it all flows down to: Stoner is in a hallucinatory state, and his environment is completely corrupted by the weight of his memories, traditions, and… violence. This is where Gunfighter Paradise becomes a divisive film in nature, and weirdly, this is where it gets more interesting.
There is a story here, of course. But writer/director Jethro Waters isn’t keen on making things easy for you. In fact, when the film enters its more traditional current, Waters decides to introduce the comedy tone that makes the experience satirical and unnerving. But again, the difficult approach to Stoner’s journey and his relationship with the past is purposefully oneiric. You’re not supposed to catch the details because there aren’t many. This is a film that will force you into a rocky territory of interpretation.
Films aren’t supposed to feel personal. But Stoner’s agenda and his insistence on staying on the other side of logic are a reminder of the personal spectrum of grief. Additionally, his views of religion and the weight of that particular memory are much too invasive and will affect those who grew up in a religious household. It’s only a matter of your ability to separate Waters’ product of fiction from your personal experience.
Gunfighter Paradise is also very well shot, features a great score, and the cinematography is breathless at some points. The conclusion is a nightmarish shift that gets rid of the comedy and puts Stoner in a tight spot. It’s also a great wink at the film’s clever note about Americana, the culture of a particular side of the country, and how we live in a violence-ridden world where gun-toting citizens are expected.
Again, the film isn’t an easy one to digest and belongs to a rare species of indie films that demand escapism. Fortunately, it is interesting as a different film about a personal subject that we will sadly have to go through at some point. We just hope Stoner isn’t the model for these kinds of events.
