walker-silverman

Life has a way of taking things from us that we think we can’t do without. Often that means the death of a loved one, but sometimes it can be home — and with it, our grounding in the world. When we meet Dusty, the laconic protagonist of “Rebuilding,” he has already lost so much. His marriage is over. His parents have been dead and buried for quite a while. But as this modest drama begins, Dusty is grappling with the most crushing of blows: His cherished 200-acre family ranch in Colorado has burned down in a devastating wildfire. He survived but he might as well be a ghost.

Dusty is played by Josh O’Connor, who lately has cornered the market on sensitive, passive outsiders. With his wiry frame and shy eyes, the British actor has demonstrated in films such as “La Chimera” and “The Mastermind” an appetite for soft-spoken characters who exude a gentle masculinity. We don’t know if Dusty’s voice is noticeably hushed because of his recent tragedy, but as he tries to pick up the pieces, this lonesome cowboy drifts through his days, doing his best to pretend he’s holding up OK.

Writer-director Max Walker-Silverman’s second feature shares with his first a sympathy for strong, silent types. His flinty 2022 debut “A Love Song” was drenched in melancholy, casting Dale Dickey and Wes Studi as aging childhood friends reunited, a tentative romance faintly sparking. Similarly, “Rebuilding” is a tale of grief and what-ifs populated by everyday folks who speak in terse tones. The movie radiates the spare, rugged poetry of a short story or a John Prine song. (Fittingly, the musician appears on the soundtrack.)

O’Connor keeps Dusty’s inner life a mystery as he reluctantly moves into a beat-up trailer at a temporary FEMA camp, struggling to make it hospitable for his grade-school daughter Callie-Rose (Lily LaTorre), who primarily lives with Dusty’s ex-wife Ruby (Meghann Fahy) and Ruby’s boyfriend, Robbie (Sam Engbring). Dusty is not a bad father or a snide former spouse — everybody in his orbit likes him, including Ruby’s ailing mother Bess (Amy Madigan). But when Callie-Rose informs Dusty that Ruby said he underachieved in school, we believe her. “Rebuilding” doesn’t reveal much about Dusty before the ranch was incinerated, but what eventually becomes clear is that he’s always been something of a disappointment.

It’s a performance that requires O’Connor to hint at an ineffable void. The character operates at a remove from even those closest to him — he has a kindly spirit, but he can’t quite connect. Dusty and Ruby were adolescent sweethearts, but the audience doesn’t need to know the whole backstory to guess why they broke up. He’s the kind of guy weighed down by an internal inertia, asleep while standing up, stuck in a rut. At least he had his ranch. But after the wildfire, Dusty’s omnipresent cowboy hat is all that remains from the only life he’s ever known.

In keeping with Walker-Silverman’s naturalistic approach, “Rebuilding” eschews a conventional plot, instead observing Dusty’s negotiation of an outside world he’s tried to avoid. He gingerly makes friends at the FEMA camp, most memorably with Mila, depicted with gruff authenticity by Kali Reis. This de facto support group has no big inspirational speeches to offer Dusty, just a weary resilience to keep going because, really, what else can they do? Some of the film’s finest moments involve O’Connor ceding the spotlight to his co-stars, each of them so offhandedly genuine one might assume Walker-Silverman gathered actual wildfire survivors.

The movie’s verisimilitude may trigger some Los Angeles viewers who know all too well the pain of recovering from a natural disaster. When “Rebuilding” premiered at Sundance in January, Southern California festivalgoers couldn’t help but feel a queasy déjà vu: The Eaton and Palisades fires were still raging, destroying communities and displacing so many. That horror and sorrow loomed heavy over those initial screenings, and no doubt for many in our city, 10 months will hardly be enough time to enter the proper headspace to appreciate Dusty’s processing of his disorienting new normal.

But while Walker-Silverman couldn’t have imagined his movie’s jarring real-world parallels, “Rebuilding” is as much a character study as it is a warning about our increasingly fragile planet and the beloved places we call home. The story’s studied minor-key tone can occasionally come across as mannered, yet “Rebuilding” possesses its own delicate grace, especially once Dusty endures other losses — some personal, others more existential. Walker-Silverman introduces a minor twist near the end that comes across as a little too narratively convenient, but one can hardly begrudge him seeking a sliver of hope for those whose sense of place has been obliterated. As Dusty learns, when you’ve lost nearly everything, all you’ve got is whatever’s left behind.