It’d be so lovely to think that if I were a man I could explain the law and people would listen and say, Okay. Three strong-willed women in the Northwest try to make their way. Lawyer Laura (Laura Dern) finds herself contending with office misogyny and a hostage scenario involving a betrayed client (Jared Harris) injured in a workplace accident. Wife and mom Gina (Michelle Williams) finds herself at odds with men including her own husband (James Le Gros) over a house addition using sandstone from the olden days owned by a future neighbour (Rene Auberjonois). Young lawyer Elizabeth (Kristen Stewart) forms a bond with a woman rancher (Lily Gladstone) in the night class she drives four hours to teach... My mom works in a school cafeteria, my sister in a hospital laundry. So, selling shoes is the nicest job a girl from my family’s supposed to get. Auteur Kelly Reichardt has carved out a very particular niche in American filmmaking with small stories, beautifully minimalist yet expressive, and mostly made in collaboration with Michelle Williams. The siege scene is misleading; everything that follows is on female terms, and subdued. The misunderstandings, betrayals and disappointments are of the purely quotidian variety. Adapted from Maile Meloy’s collection of short stories Both Ways is the Way that I Want It, the characters here aren’t quite cyphers but they’re not fully rounded either: perhaps they’re aspects of femininity, subsisting in small lives that nonetheless have their effects – Dern is the lawyer whose private agreement may have implications for another client, and the man with whom she’s having an affair carries his guilt into his own marriage. Stewart’s student clearly has a thing for her but Stewart simply hasn’t the time and is non-plussed at the woman’s appearance in her workplace. Williams is in a sense the missing link between the three separate stories bringing matters sexual and domestic to their logical place – home: Gina’s husband has been carrying on with Laura. The opposite of showy entertainment, this somehow has a spiritual link with Meek’s Cutoff in its depiction of women trying to forge their own paths in that tough territory also known as life. The only Indians here are dancing for their supper at the local mall. Each of the women’s stories can be encapsulated in something elemental: for Laura it is the law and guns; for Gina it’s land and motherhood; for the nameless rancher it’s horses and unrequited love. Elizabeth remains unknowable (a good parsing of Stewart’s place in American as opposed to European cinema). The film opens on a train breaking frame: this is perhaps a western.