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“Can you find the wolves in this picture?”

So asks Ernest Burkart (Leonardo DiCaprio) in Martin Scorsese’s latest film, “Killers of the Flower Moon.” The film constantly teeters on this feeling of dread and horror, as if wolves are truly about to descend. “Killers of the Flower Moon” is an unflinching account of the Osage killings of the 1920s and ’30s, and it is not afraid to make audiences uncomfortable. The film features incredible performances and a stunning understanding of the cinematic form, but, above all, “Killers of the Flower Moon” is an attestation to Scorsese’s storytelling power.

“Killers of the Flower Moon” is based off of the book of the same name, written by David Grann in 2017. The story is a nonfiction account of the murders that plagued the Osage tribe, who became the wealthiest people in the U.S. after finding oil on their land. At the center of Scorsese’s adaptation is Mollie (Lily Gladstone), one of four sisters in an Osage family. After marrying a white man named Ernest (Leonardo DiCaprio) who operates under the influence of his sinister uncle (Robert De Niro), Mollie’s family members start to die and her peaceful life dissolves. The story is harrowing and highlights the countless ways in which Native Americans have been exploited and oppressed by white Americans.

The core of this film’s success is its incredible acting. While DiCaprio and De Niro don’t disappoint, the real star of “Killers of the Flower Moon” is Gladstone. Gladstone perfectly embodies the complicated figure of Mollie and perfectly showcases both subtle and intense emotion. Her stoic and restrained character contrasts sharply against DiCaprio’s Ernest, whose extreme tendencies represent the hotheaded attitudes of white men. Gladstone’s appropriately subdued acting shows the warring internal emotions of a woman wracked with inner pain. As Mollie’s family members start to drop off due to the evils brought into her tribe, you can see parts of her inner soul shutting off. Since her character is normally collected, her moments of anger and grief feel all the more powerful. Besides Gladstone, it is also notable that many of the Osage characters are portrayed by first-time actors. The film highlights an amazing array of actors from different points in their careers, and each of them brings all of their energy to the table.

Scorsese grounds the film in real life not just through its performances, but also through the form of the picture itself. Most of the film’s cinematography is modern and golden-hued. But while he tells the story of the Osage nation killings, Scorsese also utilizes techniques from the past. When the Osage tribe and their newfound oil money are first introduced, Scorsese uses black-and-white, square-framed shots to recreate the aesthetic of the 1920s. When referring to historical events, such as the Tulsa race massacre, he also uses monochrome clips with silent film-era intertitles. This use of old techniques reminds the audience of how the United States’ past is often thought of as something far-off and historical. Yet, by making his characters walk out of these black and white photographs into high-quality modern film, Scorsese reminds the audience that the legacies of these stories are still very much alive and in need of our understanding.

Indeed, “Killers of the Flower Moon” feels incredibly alive and important. Scorsese is known for his grand storytelling, but the film never feels remote or overwhelming. The film’s length feels necessary and is ingrained with a deep respect for the Osage tribe and their stories. Scorsese does not shy away from any details of the violence brought against the innocent Osage people. This frankness is solidified in the final moments of the film when Scorsese himself appears to complete the tale. In a scene set forward in time, Scorsese carefully narrates the deaths of Ernest, King, and Mollie directly to the camera. As he explains that Mollie is buried “with no mention of the murders,” he looks directly into the camera. Scorsese’s own inclusion in the film feels like a personal moment between the director and the audience. After his speech, the film fades into a song and dance of the Osage nation and then cuts to black. Scorsese uses the final moments of the film to make it clear that the film is not his own story, but instead an attestation to crimes that were once forgotten or swept under the rug.

Of course, there is one aspect of the film that must be addressed: its over three-and-a-half-hour runtime. The length is truly daunting and there are some moments when the film begins to lag. While the pacing is overall snappy, the story slows at the two-hour mark before ramping up again. In order to prevent losing the film’s focus on the Osage people, Scorsese could have cut some extraneous scenes that developed King and Ernest’s relationship. Overall, the film’s length prevents it from being rewatchable.

Scorsese’s drama proves that the filmmaker is willing to combine his favorite flourishes with new, compelling, and diverse stories. He highlights the crimes against the Osage people without pretending that the story is his own. Scorsese’s work continues to be both culturally relevant and thrilling to watch, and “Killers of the Flower Moon” is sure to leave a mark on all who watch it.

—Staff writer Hannah E. Gadway can be reached at hannah.gadway@thecrimson.com.