by Cyn’s Corner

Tony Tost, best known as a writer on “Longmire,” “The Terror,” and “Poker Face,” makes his directorial debut with “Americana,” a neo-Western set mostly in South Dakota. The film unfolds in multiple parts, weaving together a wide range of characters whose fates collide around the discovery of a stolen Native American artifact.

The story begins with an opening scene that culminates in a death, immediately setting the film’s somber tone. In Part One, we meet Cal, a young boy who believes he’s the reincarnation of Sitting Bull, his ‘sister’ Mandy (played by singer Halsey), and her boyfriend. From there, the film jumps back in time to introduce Penny (Sydney Sweeney), a shy waitress with a stutter and dreams of becoming a Nashville country singer, and Lefty (Paul Walter Hauser), a lonely man with the unfortunate habit of proposing to women he barely knows. Penny notices something suspicious involving customers at the diner where she works, and her curiosity pulls Lefty into a scheme that eventually ties them to Mandy, Cal, and Ghost Eye (played by the always excellent Zahn McClarnon).

What makes “Americana” stand out is Tost’s writing. Each character is introduced with efficiency yet given enough space to feel layered and real. Information is withheld at just the right moments, with revelations deepening our understanding as the story progresses. Despite its darkness and bursts of violence, the film balances its tone with moments of sharp, well-timed humor. A standout example is Simon Rex as Roy, who mid-shootout corrects one of his henchmen for calling Ghost Eye’s group “Indians” instead of “Native Americans.” These moments never undercut the tension though — instead, they provide brief but welcome levity.

The performances are strong across the board. While the marketing might suggest Sydney Sweeney’s Penny is the central focus, the narrative also gives weight to Mandy, Cal, and Ghost Eye, making this more of an ensemble piece than a star vehicle. The pacing is tight, and by the end, each storyline is brought to a bittersweet but satisfying close.

If there’s one flaw, it comes in a sequence where Penny and Lefty suddenly appear to be following people connected to the artifact. The moment feels abrupt and a little too coincidental (even though you eventually realize they must have been tracking the group for a while already), but a brief shot showing when they had first started the pursuit would have smoothed out that transition.

Even with this small hiccup, “Americana” is an impressive debut from Tony Tost. It’s a neo-Western with both grit and heart, told through characters you come to care about. It may not make a big splash in theaters, but I suspect it will find its audience once it hits streaming.

Rating 8.5/10