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You who are looking for a little comfort at the start of this pre-apocalyptic year, move on: there is nothing in At the dawn of America to restore faith in humanity. Created and written by the screenwriter of The Revenant (2016), Mark L. Smith, the marauding series on the same territory: the western United States, on the eve of the Civil War.
The ascetic mysticism of Alejandro Gonzalez Iñarritu’s film gives way here to the spectacle of the evil that man does to his fellow man, staged with a luxury of detail which leaves nothing ignored of the cruelty of the attackers and the suffering of the defeated (permanently interchangeable roles). For six hours, nations, religions, genders kill each other. And, when the fighting pauses, it is to give way to hunger, cold, illness.
-This Hobbesian agitation is set in the austere splendor of the Rocky Mountains between Wyoming and Utah. Director Peter Berg was able to make judicious use of the very comfortable budget allocated to the series by Netflix. The obvious beauty of the teepee villages of the Shoshones and Paiutes – the nations of the region – meets the filthy disorder of the first American settlement, Fort Bridger, represented here with a desire to overthrow the images of the West that persist in amusement parks.
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