Viggo Mortensen’s sophomore directorial effort, The Dead Don’t Hurt, is a poignant and gritty exploration of love, resilience, and survival set against the unforgiving backdrop of the 1860s Western frontier. Combining a tragic love story and a nuanced depiction of the conflict between revenge and forgiveness, the film focuses on the lives of star-crossed lovers Vivienne Le Coudy and Holger Olsen.

Mortensen, who also stars in the film alongside Vicky Krieps, creates a narrative rich in character development and visual authenticity, making it a modern addition to the Western genre.

The film introduces us to Vivienne Le Coudy (Vicky Krieps), a fiercely independent French-Canadian woman who meets Danish immigrant Holger Olsen (Viggo Mortensen) in San Francisco. Their almost-instant attraction leads them to Elk Flats, Nevada, where they do their best to build a life together. However, their happiness is disrupted by the outbreak of the Civil War, with Olsen compelled to join the Union forces and leaving Vivienne to survive on her own, in a town ruled by corrupt Mayor Rudolph Schiller (Danny Huston) alongside his ruthless business partner, Alfred Jeffries (Garret Dillahunt). Vivienne’s resilience cannot fight the aggressive advances of Alfred’s son, Weston (Solly McLeod), which she strongly resists.

The Dead Don’t Hurt is an example of character-driven storytelling. Krieps delivers an excellent performance as Vivienne, embodying both strength and vulnerability. Her portrayal of a woman determined to stand up for herself in a ruthless world dominated by ruthless men is compelling and at times, relatable. Mortensen, as Olsen, brings his trademark intensity to the role, creating a character who matches Vivienne’s steadfast and resilient nature. Their chemistry on screen is evident from the moment they cross paths, adding the necessary depth to their characters’ complementary relationship.

Mortensen’s direction is subtle and effective, showcasing his ability to tell a story that is both intimate and expansive. His inspiration for the film, drawn from an image of his mother as a young girl, fills the film’s narrative with a sense of personal history and emotional depth. The connection to his mother’s imagined childhood adventures adds a layer of poignancy to the film, making it more than just a Western – it takes a deep look at the passage of time and the resilience of the human spirit.

The film’s visual language, crafted by cinematographer Marcel Zyskind, looks great onscreen. Shot largely on location in Durango, Mexico, with additional scenes in Eastern and Western Canada, The Dead Don’t Hurt captures the raw beauty and harshness of the frontier landscape. Zyskind’s use of natural light and wide-open vistas creates a sense of timelessness; transporting us to a different era. The decision to shoot in Super 16mm also adds a textured quality to the images, enhancing the film’s period authenticity.

Production designers Jason Clarke and Carol Spier, along with costume designer Anne Dixon, also do an exceptional job in recreating the 19th-century setting. Dixon’s costumes, in my opinion, deserve special mention for their meticulous attention to detail. The clothing feels both formal and lived-in, reflecting the characters’ lives. This level of detail extends to the set design, with Olsen’s cabin, which seamlessly blending into the rugged terrain, as if it had been there for decades.

Mortensen’s handling of the film’s themes is also impressive. The story grapples with issues of power, oppression, and the human capacity for forgiveness. Krieps has described Vivienne as a “messenger” from a bygone era, whose experiences resonate with contemporary struggles against oppression and violence. The film’s exploration of these themes is handled with a sensible touch, avoiding didacticism while still making a statement.

The obvious aspect that stands out in The Dead Don’t Hurt is its unconventional approach to the Western genre. Mortensen’s film is not easily categorized due to its blending elements of romance, drama, and suspense into a cohesive whole. This genre-bending approach gives us a more nuanced portrayal of its characters, particularly Vivienne, whose strength and independence challenge traditional archetypes of women in Westerns.

Having missed it at TIFF last year, I did not hesitate in screening The Dead Don’t Hurt. Overall it is a well-crafted film that, in my opinion, establishes Viggo Mortensen as a talented writer-director. With its rich character development, stunning visuals, and interesting thematic exploration, the film offers a fresh and moving take on the Western genre. Krieps and Mortensen’s performances anchor the film, bringing to life a story that is both timeless and timely. For fans of thoughtful, character-driven cinema, I would say, The Dead Don’t Hurt is one to add to your list.

Photos by Marcel-Zyskind.