Sundance ’26: ‘THE WEIGHT’ Turns Depression-Era Grit into a Gorgeously Verdant Trek

In the midst of the Great Depression, Samuel Murphy, played by the ever-reliable Ethan Hawke, is separated from his daughter and sent to a hard labor camp. His crime? Being poor. And maybe punching the wrong guys. At the camp, Warden Clancy (Russell Crowe) notes Murphy’s quiet intelligence and problem-solving gumption; he might just be able to help the warden out of a bind in exchange for a commuted sentence. That’s the setup for Padraic McKinley’s gorgeously mounted, pulse-thrumming survival adventure The Weight, a film that drapes a muscular, objective-driven plot over lush period-piece trappings. It’s beautifully crafted, yes, but also accessible, energetic, and smarter than it initially lets on.

Murphy’s mission is to haul hundreds of pounds of gold bars through impenetrable forest, dodging roads and government checkpoints. Clancy aims to squirrel away some of the camp’s hard-won treasure before FDR’s feds cart it all off to Fort Knox. Murphy is told to choose three inmates he can trust. He picks Singh (Avi Nash), Olsen (Lucas Lynggaard Tønnesen), and, scraping the bottom of the barrel, Rankin (Austin Amelio). Their every move is watched by armed guards as they trudge through the Oregon wilderness: fording rivers, crossing rickety bridges, and encountering a mix of welcome and ominous faces along the way, including Anna (Julia Jones), a Native woman with secrets of her own.

The Weight strikes a rare balance: plot-driven yet atmospheric, the kind of artsy-coded Dad movie — think The Revenant or The Last of the Mohicans — that scratches a very specific, nature-blasted survival itch. Toss in some Depression-era ruffians and a desperate father’s quest to reunite with his daughter, and you’ve got a formula that checks all the right boxes. Sure, the gauntlet of obstacles along the way comes with its share of what could generously be called contrivances (read: plot holes), but it’s all in service of a story that remains laser-focused on entertaining and mystifying with its top-shelf production design.

Matteo Cocco’s cinematography doesn’t waste a frame: blazing forest fires at night, lush greenery by day, and, most importantly, the deep-set grooves in Ethan Hawke’s weathered face. That’s where the movie breathes. The sound design roars with Model T engines, the clang of pickaxes on stone, babbling brooks, and the whispering, ominous hush of the forest. All of it layered beneath an imposing, near-ghostly score from brothers Latham and Shelby Gaines, which elevates the whole soundscape into something mythic. And if it occasionally stumbles under the weight of its own ambition, well, that’s just part of the haul.

CONCLUSION: ‘The Weight’ is an effective survival Dad movie, buoyed by intoxicating production design and a killer Ethan Hawke man-on-a-mission performance.