Discover the Director's Horror Western Before Immersing Yourself in 'Five Nights at Freddy's'

The Big Picture

The Wind is a haunting horror Western that blends the genre seamlessly and deserves more recognition from Five Nights at Freddy's director, Emma Tammi.

The movie delves into the notion of "Prairie Madness" and the emotional suffering endured by isolated settlers, specifically women. It presents a scarce female viewpoint in the traditionally male-centric Western tale, illustrating the anguish and disregard women encounter.

What is 'The Wind' About?

Westerns are currently incredibly popular, thanks to the release of shows like Yellowstone and 1883. The All-American Frontier movie holds a special place in the world of cinema, evoking nostalgia for simpler times. But what's even better than a classic Western? A Western with a spooky twist! Horror Westerns are a rare find, but they manage to scratch that desolate, mysterious itch that you didn't even realize you had. Among the recent horror Westerns, one stands out for its impressive combination of genres. Released in 2018, The Wind crept onto the scene with a name as enigmatic as the movie itself. Directed by Emma Tammi, who is also at the helm of the highly anticipated Five Nights at Freddy's film adaptation coming to theaters and Peacock on October 27, The Wind deserves more recognition. So, whether you're patiently waiting for the trip to Freddy Fazbear's Pizzeria or simply craving a haunting frontier tale, Tammi's The Wind will not disappoint.

Image Via IFC Midnight

The Wind is a hauntingly beautiful film that captivates and unsettles. From its gripping opening scene, it delves deep into the viewer's psyche, refusing to let go. Leading the cast is Caitlin Gerard, portraying Lizzy, a wife living in complete isolation with her husband, Issac (Ashley Zukerman from Succession). Eventually, their desolate existence is disrupted by the arrival of neighbors whose distant house barely peeks through the vast New Mexico desert in the 1800s. One would expect this introduction of neighbors and potential friends to bring warmth and welcome to Lizzy's barren surroundings, but instead, it is the catalyst for her troubles. Emma (Julia Goldani Telles) and Gideon (Dylan McTee), the neighbors, forge a bond with Lizzy and Isaac, but Emma's proximity becomes increasingly unsettling. The film weaves back and forth between past and present, showcasing Emma's growing paranoia as her pregnancy progresses. The plot is a constant rollercoaster of twists and turns, never granting the characters respite. Just when hope seems within reach, director Emma Tammi relentlessly pushes them further down a dark and treacherous path.

'The Wind' Deals With Mental Illness in the 19th Century

Image Via IFC Midnight

The movie effectively captures the desolate nature of the late 19th century frontier, evoking a profound sense of isolation that triggers the protagonist's descent into madness. Drawing inspiration from the phenomenon known as "Prairie Madness," the film employs familiar horror elements to depict this psychological breakdown. Prairie Madness, also referred to as Prairie Fever, was a condition that affected pioneers on the Great Plains during the 19th century migration. Those afflicted with Prairie Madness experienced symptoms such as depression, anxiety, irritability, and in some cases, violence. The vast and secluded landscape of the Great Plains contributed to the mental anguish experienced by many men and women during this period.

Of particular significance was the impact on women, who often found themselves alone for extended periods while their husbands were away for work or to support their families. In his article for The Atlantic, journalist Eugene Smalley described how the silence of the plains was the primary catalyst for driving people to madness. He highlighted the profound stillness and the eerie atmosphere of the prairie, describing it as a place where "the silence of death rests on the vast landscape." Frequently, wives were left to fend for themselves, a situation further compounded when they were expecting a child. This parallel is evident in the characters of Lizzy and Emma in The Wind. Lizzy endures the tragedy of a stillborn child, forging a connection between her and the expectant Emma.

In The Wind, Emma's escalating paranoia ultimately leads to her demise. As the film progresses, Emma's mental state deteriorates, firmly convinced that a malevolent entity is closing in on both her and her child. Lizzy, having experienced similar episodes of paranoia, can empathize with Emma, particularly when Isaac is absent. Emma repeatedly inquires about the whereabouts of Lizzy's shotgun, hinting at her own tragic fate, ultimately taking her life with Lizzy's weapon.

Following Emma's death, Lizzy's encounters with sinister beings and apparitions intensify. Eventually, it is revealed that Lizzy is the very entity that Emma had been describing, and that Lizzy has been plagued by madness all along. Consumed by jealousy towards Emma and Isaac's relationship, as well as Emma's pregnancy, Lizzy not only kills Emma but also fatally stabs Isaac with a shard of glass. The film's non-chronological narrative, narrated from Lizzy's perspective, cleverly deceives the audience until the pivotal revelation. Tammi, the creator of the film, explains that the script draws inspiration from actual accounts of women during the depicted era. Tammi adeptly blends reality and fantasy throughout the film, leaving viewers questioning their own sanity while immersed in the story. The unique storytelling approach keeps audiences captivated, unraveling the mystery of how the woman in the blood-soaked white dress reaches her haunting conclusion.

'The Wind' Offers a Rare Female Perspective in the Western Narrative

Image Via IFC Midnight

The Wind is a compelling feminist work within the traditionally male-dominated Western genre. While men usually hold the power and control their own destinies in this genre, it is the women who hold the true power, despite their suffering from Prairie Madness. The male characters in the film embody the typical role of doubting women's concerns and dismissing them as mere acting. This disregard ultimately leads to Isaac's downfall as Lizzy's Prairie Madness drives her into a fit of rage. In the late 1800s, Gerald N. Grob explored the topic of mental illness in his book "Mental Illness and American Society, 1875-1940." Grob's research highlights the shift in focus from physical to mental health during this time due to the prevalence of Prairie Madness. The Wind presents a slow-burning narrative that demonstrates the enduring issue of mental health, even as far back as the early 19th century.

Rather than portraying Emma or Lizzy as supernatural heroes who triumph over the evil entity they have conjured, the film allows viewers to empathize with these women during their unspeakable actions. The Wind is a prime example of independent horror that leaves a lasting impression on its audience. With its stunning cinematography, minimal dialogue, and outstanding performance by Gerard, this film stands as a strong contender for one of the best Horror Westerns. In the vast expanse of the Great Plains, could you survive the relentless wind?

The Wind is available to watch on Tubi in the U.S.