(Video on Demand, May 2016) From the first moments, it’s obvious that The Revenant is going to be a beautiful film, a long film and a film with a lot more on its mind than a survival/revenge story. It could have been a cheap and efficient 90-minute exploitation film, considering the nature of the story: As far as incredible stories of survival are concerned, it’s hard to beat a gravely wounded man in 1790s American wilderness travelling 300 kilometres to seek the man who left him for dead and killed his son. Extreme survival, justified revenge, beautiful nature backdrops… No-one would have faulted The Revenant for focusing on the primal survival/revenge story. But in the hands of director Alejandro González Iñárritu, the result is a few steps above the strictly necessary. A savvy blend of nature shooting and cutting-edge special effects allows for lengthy, almost unbearable sequences of violence set against spectacular natural landscapes. In-between harsh weather, aggressive bears, warring white groups and wronged natives, there are many moving parts in The Revenant, and the script effortlessly plumbs at the complexities to be found in even such a so-called wilderness. Leonardo Di Caprio is remarkable as the hero of the story, even though Tom Hardy also does a lot as the antagonist. Still, the stars here are cinematographer Emmanuel Lubezki and director Iñárritu, transforming an exploitation premise into A-grade filmmaking. It’s true that the result could have been a bit shorter and less repetitive, but it feels a bit ungrateful to ask for less of an excellent film.