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In its own unshowy way, “The Homesman” is a profoundly compassionate, subversive and tragic story about the unacknowledged sacrifices made by women throughout history, about the tenuous bonds of community and mutual obligation that make human life possible and about the thin, wavering line that separates civilization from anarchy. Like so many great stories told before, it recounts a dangerous voyage: Mary Bee and Briggs, a pair of social outsiders, must transport three women across the trackless prairie of the Nebraska Territory to the Missouri River, Iowa and the relative order of the existing United States. (No date is specified, but it has to be the late 1850s.) Why do these women have to go? Because they’ve snapped. They’re chained inside a wagon, a trio of frontier wives driven insane by the hardship, disease and loneliness of life in an unforgiving, wind-swept wilderness.
I’m not naive enough to believe that a movie with this subject matter and this setting will be a big hit or a major player in the Oscar race. But it should be, and in a curious way “The Homesman” fits into our contemporary cultural debate about sex, gender and the status of women. George Briggs may not be much of a feminist, but I think Jones now gets to claim that title if he wants it. Plain as a tin pail Mary Bee may be, but Jones (and Briggs too) understands that she, and not her male companion, is the true hero of “The Homesman.” (It’s only a tiny spoiler to say that the title refers to her, more than to Briggs.) She can plow, shoot and ride as well as any man in the territory, while still clinging to feminine dreams of domesticity, family and prosperity. If her struggle comes against insurmountable odds and points toward an ambiguous conclusion, such is America.

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All four actors get a chance to shine in this nicely balanced ensemble, and Adam Scott gets special props for exploring new frontiers of fear and bravery in the realms of male frontal nudity and, shall we say, male anatomical anxiety. But Schwartzman is in every way (and even in the anatomical sense!) the centerpiece, playing a guy whose veneer of cool and confidence hides something else. Not something darker, necessarily – maybe just a squishy central core of bullshit. His alleged trilingual abilities in French and Spanish are a put-on, and amid his blithe torrent of world-traveler conversation comes a reference to “the Central Republic of Africa,” which is not a nation you will actually find on the globe.
It might be going a step and a half too far to suggest that “The Overnight” is subversive, in any grand social sense. But it’s a little bit subversive in terms of the suburban marriage comedy, which has also been vigorously deconstructed in such underappreciated recent efforts as Stacie Passon’s “Concussion” and E.L. Katz’s “Cheap Thrills.” (Catch both of those!) Brice’s script is driven by questions about the nature of desire that are increasingly ambiguous. What do Emily and Alex really want from their attractive and mysteriously affluent new friends? No one’s forcing them to stay there all night (after putting their sons to bed together), getting drunk and stoned and swimming naked in the pool and allowing themselves to be separated from each other several times.

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It’s so interesting, because this country, in my generation, has always been at war. There was a belief then after that first World War, that that would be the end. It was called Great War; it wasn’t called the First World War. But I do think we are in a very bad way in terms of endless intervention, and a belief that intervention is the recourse. I’m not a pacifist, but I do believe that every option should be exhausted before we go to war, so to see in the last couple of weeks these op-ed pieces that we must go to war with Iran … I mean, admittedly, they’re the neocons who should be in the dock instead of the op-ed pages.