Devery Jacobs Criticizes 'Killers Of The Flower Moon' Film for Dehumanizing People



by NOUMAN RASOOL

Devery Jacobs Criticizes 'Killers Of The Flower Moon' Film for Dehumanizing People
© Matt Winkelmeyer/GettyImages

Devery Jacobs Expresses Strong Critique of Martin Scorsese's 'Killers of the Flower Moon' Renowned Indigenous actress Devery Jacobs recently took to X, the social media platform (formerly known as Twitter), to share her impassioned thoughts on Martin Scorsese's latest cinematic offering, 'Killers of the Flower Moon.'

Jacobs' candid assessment of the film has sparked discussions across the entertainment industry.

Jacobs' Harrowing Critique

In her Twitter thread, Jacobs minced no words, describing the viewing experience as "painful, grueling, unrelenting, and unnecessarily graphic." As an Indigenous person herself, she found it particularly distressing to witness the cinematic portrayal of the historical atrocities perpetrated against her ancestors.

Jacobs lamented that the film seemed to revel in depicting these painful events in explicit detail, with only brief respites in the form of lengthy scenes of white characters discussing and planning violent acts. While Devery Jacobs commended the performances of the Indigenous actors in the film, she noted a stark disparity in character development.

Osage characters, she felt, were portrayed as painfully underwritten, while the white characters received more in-depth exploration. Jacobs expressed her concern that the film failed to honor the dignity of the real-life individuals whose tragic stories it depicted.

She argued that the extensive focus on violence against Native women on screen risked normalizing the violence committed against Indigenous communities and further dehumanizing them. In a powerful plea, Jacobs emphasized the need to acknowledge the multifaceted aspects of Indigenous identity beyond the lens of trauma and atrocity.

She pointed out that Indigenous peoples have rich cultures, languages, pride, joy, and love that are far more captivating and humanizing than the horrors inflicted upon them. While recognizing the importance of telling the story of the Osage community, Jacobs questioned why the film wasn't entrusted to an Osage filmmaker to bring their own perspective and authenticity to the narrative.

Despite her critique, Jacobs acknowledged the catharsis that the film might offer to Osage communities involved in its creation. She also took issue with the film's ending, suggesting that it failed to absolve it from portraying Native people as helpless victims.

In closing, Jacobs issued a stern rebuke to the white Oklahomans who still benefit from the historical injustices portrayed in the film. She raised a poignant question regarding the film's representation of Indigenous communities, especially in light of a century of problematic portrayals.

Devery Jacobs' candid critique has ignited important conversations about the responsibility of filmmakers and the need for authentic and respectful representation in the industry. Her words serve as a reminder that Indigenous stories deserve to be told from within the community, with care and respect for their lived experiences.