Writers on the Range Mustangs deserve a better film than ‘Unbranded’ The 2015 film’s scenery doesn’t make up for the cruelty endured by the wild horses.

A few nights ago, I downloaded the acclaimed 2015 film Unbranded. This crowd-funded film, made by Fin and Fur Productions from Bozeman, Montana, depicts the journey of four young men who ride mustangs from the Mexican border up to Canada, traveling through some of the most beautiful public lands in the American West.



Unbranded is marketed as a celebration of the American mustang, both wild and under saddle. It was featured at the Banff Mountain Film and Telluride Mountainfilm festivals, and continues to be promoted widely. Last year, it was a top download on iTunes and gained over 150,000 likes on Facebook. Outside Magazine and the Los Angeles Times gave it glowing reviews.

Courtesy of Ben Masters

Ben Masters/Flickr

The film’s storyline is also troubling. A veterinarian and various Bureau of Land Management officials talk about how hard it is to protect public lands from overgrazing while still conserving the mustang as an American icon. The solution: moving “surplus” mustangs from the range to federally run holding pens to prevent further degradation of the land and starvation of the horses. Yet the filmmakers make only a slight attempt to explore the contentious political context of too many mustangs roaming the public land. The title, Unbranded, by the way, makes little sense as the BLM freeze-brands every horse that it rounds up for adoption or life in a holding pen.

The only comprehensive thread woven through the documentary is the account of four fame-seeking boys who disregard the welfare of their horses to inflate their own egos. Instead of being exalted, the American mustang is treated as a cheap, easily replaceable commodity available for irresponsible use.



While some reviewers have criticized the choices of the protagonists, virtually all conclude that the film is redeemable because of its cinematography. Unbranded does depict sweeping vistas, but this doesn’t excuse the behavior of the people we’re watching. As Aristotle observed, when storytelling goes bad, spectacle is substituted for substance. Richly painted sunsets and the drama of needlessly frightened, panicking horses become ends in themselves.



As wrong as it was for these young men to treat their mustangs neglectfully, it is also unfortunate for the public to accept this behavior. To celebrate this documentary at film festivals, to mount no outcry about it in over a year, is to condone behavior that is neither common nor acceptable. Those of us who love the West and its mustangs should stay away from this documentary.

Note: This article has been updated to correct a factual error about the death of one of the horses in the film. The death was not the result of a cervical spine fracture, as originally written by the author.



