Indian Road Trip (2019)

(On TV, January 2021) One of the better arguments for greater inclusivity in filmmaking (not merely casting) is that different perspectives will tell stories from viewpoints other than those that have dominated cinema since its creation. Indian Road Trip, despite obvious shortcomings, is a clear example of the fun to be had when formerly marginalized filmmakers reuse familiar formulas to their own ends. The film takes a risk early on by introducing us to its two native protagonists by showing them swindling a caricatural couple of white folks out for reserve tourism. The dodgy morals of our lead characters having been established, the film follows it up by showing how disliked they are by the rest of the reserve. Their punishment? Driving an elder to her sister’s house, a short-distance trip that turns out to be far lengthier given intentional obstacles and some magical interference. Ajuawak Kapashesit and Paul C. Grenier star in writer/director Allan Hopkins’s comedy, their charisma quickly winning us over to their side as they try to complete their quest despite many deviations. While the acting talent in the film is uneven, there are a few laughs from Dale Hunter as a cranky elder, and Evan Adams as a character that keeps popping up at the oddest moments (something that even the characters eventually pick up). Indian Road Trip doesn’t take itself too seriously, and it has the freedom to be playful rather than harping on more serious themes usually associated with low-budget Canadian native films set on reserves. The comedy shines through, which is not always obvious on low-budget productions, and many more serious thematic concerns sneak in on the edges of the film’s main comic plot. The film’s low budget is the stuff of legend—much of the film was shot without sufficient post-production funding, and it took extraordinary financing arrangements for the film to be completed at all—and shows perhaps most clearly in the washed-out cinematography that flattens the impact of the spectacular shooting locations of Merrit, BC. (Which feels like a shame considering that the film makes good use of drone footage and good-to-great composition.)  It’s impossible to be too critical of such a winning effort, though: the script has its share of good moments in between mixing up a family quest, magical realism, a Tarantinoesque subplot about a criminal hunting for lost money, and the two lead’s good-natured banter. The film simply feels fun—and simply endearing despite its flaws. I’m annoyed that Indian Road Trip, like many examples of a substantial wave of enjoyable Canadian movies from First Nations filmmakers, will probably fly under the radar of most filmgoers. It’s a welcome exemplar of what’s possible when even modest budgets find their way into the hands of non-traditional filmmakers, and I hope to see more of Allan Hopkins’s work soon.