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Cinema built the myth, and cinema was the first to put it on trial.
Cinema built the myth of the West, and cinema was the first to take it to court. The ten films in this series keep horse, gun and desert intact, and turn on the hero the question that used to be the outlaw's. In the first volume the man the genre had built to reassure is enlarged until you can see the bottom of him, left alone by his own townspeople, found to be a racist and followed anyway, reduced to a code that no longer buys anything, and finally replaced by a fourteen-year-old girl. In the second, the West is already over when the film begins, and each one chooses how to take its leave: with a solemn funeral, with a smile, with a trial, with remorse, or by carrying the grammar of the genre somewhere it had never gone. What you learn here is economy: geography as structure, backstory withheld, silence doing the work, tone as an ethical choice.
A marshal wins the duel, takes off his star and lets it fall in the dust in front of the people who had not come out to help him. Five films that keep every pleasure of the genre intact and use it to open proceedings against their own protagonist.
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A pig farmer ends up in the mud of his own pen, cannot get on his horse, and misses the can with his pistol. The trade of the gunfighter still exists: the body that practiced it and the world that called on it have stopped being in the same place.
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Two volumes on the genre that invented a myth and then took it apart from inside. The first puts the frontier hero on trial, the second stages five ways of taking leave of an era already over. Ten films in which landscape is structure and violence is always a cost, never a reward.