The third film in Taylor Sheridan’s unofficial ‘American Frontier’ trilogy (after writing Sicario and Hell or High Water, he now writes and directs this film), is a similarly enthralling tale of another facet of the American life, and in another part of the country. This is a chillier tale both in setting and atmosphere, but maintains the compelling and intimate feel of his other tales.

Set in the titular American Indian reservation, the film charts the investigation into the death of a young woman, whose body is discovered out in the snow by wildlife officer Cory Lambert (Jeremy Renner). Soon FBI agent Jane Banner (Elizabeth Olsen) is sent to the scene, and, in the absence of being able to summon any more from the bureau, teams up with Lambert in an attempt unravel the mystery behind the woman’s death.

One of the narratives biggest strengths is that it doesn’t play out how you might expect it to. It morphs from a whodunit mystery into something more, hinted at by Lambert’s tragic past, and his connections on the reservation. Its twists and turns keep you engaged and ensure it rises above other mystery thrillers. It also maintains a quiet emotional thread throughout, deepening the story and the characters, making them just as compelling as the mystery that is unfolding in front of you.

Each character is brought to life by a fantastic cast, each imbuing their role with such a feeling of authenticity and believability that they step out from the stereotypes often found in their roles. Renner gives one of the best performances of his career, giving his character such depth and emanating such emotion, without ever descending into melodrama. He is paired with a terrific Olsen as the FBI agent in over her head. She is strong and authoritative, but flawed and recognizing of her mistakes. There is a touch of Clarice Starling about her (one scene in particular is especially reminiscent of Silence of the Lambs), but is still entirely her own person. They are surrounded by a great supporting cast, including Gil Birmingham, who returns to Sheridan’s worlds after a turn in Hell or High Water. The two have a great on screen relationship, and thankfully the film doesn’t force them into a superficial romance.

Sheridan, once more, commandeers the landscape, almost making it another character in the story. He involves it in the narrative, but also captures it brilliantly, fully transporting you. His script, as is to be expected, is taut and fantastically written, with gorgeous dialogue that still (for the most part) feels like something people would really say. He holds back information, and doesn’t spoon feed too much – certain elements of backstory are merely hinted at, or not explained until much later in the story, forcing an engagement with the details and the smallest emotions on the actors’ faces. His subversion of the expected genre structure may mean that the mystery’s reveal may seem slightly abrupt, but what follows means it makes sense.

The result is something almost poetic. Wind River is an utterly and entirely compelling tale with real emotional pay off that is executed excellently, boasts some of the best performances of the year, and cements Sheridan’s place as a master of modern cinematic writing.