In Martin Scorsese's new film we can find a mix of genres with a brilliant final result. At first glance, we can classify The Moon Killers as a twilight western set in the 20th century. But it is also a love melodrama, a murder thriller, a judicial drama, a political film and we even find some moments of comedy. Almost everything fits into this monumental three and a half hour long story in which Martin Scorsese narrates the massacre of the Osage Indian people at the hands of the greedy white man. One of the greatest injustices in the history of the United States. We are introduced to Ernest Burkhart (Leonardo DiCaprio), who has just returned from World War I and seeks to settle in the state of Oklahoma, in the home of his wealthy uncle, William Hale (Robert De Niro), who maintains a cordial friendship with the leading members of the Osage community. Ernest soon meets Mollie (Lily Gladstone), a young and rich heiress who at first will resist Ernest's courtship but who will soon fall at his feet. They will both form a happy family, despite Mollie's health problems (she has diabetes) throughout the film. At the same time that we are shown this loving relationship between the two protagonists, the viewers witness different murders of which several Osages are victims, without the authorities or the police taking action on the matter. This slow process of extermination will be stopped when the FBI finally intervenes, personified by agent Tom White (Jesse Plemons), who is sent by J. Edgar Hoover himself to clarify the mysterious crimes and find the culprits.

The script for The Moon Killers adapts David Grann's book “The Moon Killers: Oil, Money, Homicide, and the Creation of the FBI” and is written by Scorsese himself in collaboration with Eric Roth, co-author of great films. scripts for films such as Forrest Gump (Robert Zemeckis, 1994), The Curious Case of Benjamin Button (David Fincher, 2008) or A Star is Born (Bradley Cooper, 2018). It is a dense and detailed script, which structures the film in two well-differentiated parts but maintains the tone throughout. In a film as long as this one, you would think that some sequences could have been cut, but we can certainly say that there are no moments left over.And the leisurely pace, slow at times, is essential to transmit all the different emotional states that the viewer goes through. The responsibility for editing falls once again on Thelma Schoonmaker, a collaborator of the Italian-American director for decades and who does a splendid job when it comes to imposing the rhythmic cadence necessary for the extensive narrative. The work on the photography of the Mexican Rodrigo Prieto and the music of the recently deceased, Robbie Robertson, main composer of the group The Band and another frequent collaborator of Scorsese, give the staging a special force and an unmistakable imprint of the American genre par excellence .

We are, as in The Irishman (2019), facing a great story as Martin Scorsese has accustomed us to in these what seem to be his last works, since we must remember that the director is already over eighty years old. Deploying a grandiose narrative and sensational performances, as in the case of DiCaprio or De Niro, but especially the work of Lily Gladstone, The Moon Killers will probably compete strongly at the next Academy Awards.

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