If there’s one thing I’ve discovered while writing this column, it’s that When Good Directors Go Bad™, they usually do so in ways that are strangely compelling. While some of the films they make are merely small missteps and others are unmitigated disasters, generally the films will show enough of the director’s style to be of interest as part of the filmmaker’s oeuvre as a whole. Yet occasionally, a great director will make a film that just sort of recedes into the background of his career, insignificant even as a footnote to an important career. The Dark Wind, Errol Morris’ sole fiction feature to date, is such a film.
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