Americana (2025) Dir. Tony Tost

A dollop of crime and American iconography permeate the first feature from poet Tony Tost who writes and directs this tale of Dixie-infused characters embroiled in a twisty plot of violence and theft.

In the dusty desert, Gavin Maddox Bergman stars as Cal Starr, a young boy who wouldn’t be out of place in a Wes Anderson movie given his precociousness. He’s obsessed with Native American history and thinks he’s the reincarnation of Chief Sitting Bull. As his “sister” tries to leave her abusive partner he refuses to depart “his people’s land” and she drives away to save herself.

Shockingly, with his historical headdress and his accuracy with a bow and arrow we see him finish off the disrespectful man before letting out a primal scream. Drinking a Coca Cola he then throws it on the ground, an irony not lost if you’ve ever seen “The Crying Indian” anti-litter advert of the 70s.

It’s this juxtaposition of modern America and indigenous culture that fills the film with culturally relevant topics but it’s not a heavy sermon. In fact, most of it is a straightforward crime drama that sees double-crossing dudes and dudettes get into a farcical sequence of confusion and money-grabbing situations.

Sydney Sweeney also stars, playing a waitress (and singer-songwriter) with a stammer. Paul Walter Hauser as a loser-in-love cowboy teams up with her after they hear about an opportunity to get their hands on a “Ghost Shirt”, an ancient spiritual garment that happens to be worth hundreds of thousands of dollars.

The film has a non-linear narrative where the situations are subsequently explained later in the tale and along with this Tarantino-style set up, we get chapter breaks and fast-talking criminals to boot.

However, despite some dark but gentle humour it's quite earnest and could do with a dollop of tongue in cheek b-movie nastiness or a hip soundtrack to add some energy. The second half picks up for sure but it can be as dry as tumbleweed at times.

The obvious slide guitar, ‘69 Dodge Charger (nodding to The Dukes of Hazard) and desolate landscapes are all great ways to explore its subject matter. The director has a background in poetry and his attempts to visually represent a mythical America is admirable if a little on the nose.

It also takes a pop at high society with an obnoxious dinner host man-splaining the Ghost Shirt before two burglars enter to steal the item.

Sweeney, who seems to have been in more movies than Pedro Pascal in the last few years, adds to her diverse filmography here. One which almost entirely avoids her famous “bombshell” reputation. And Hauser is as great as ever as the bumbling side-kick with a heart, the type he’s nailed down perfectly in his career.

Zahn McClarnon (seen in Fargo) plays a crime leader who also wants to get his hands on the expensive item. But he is mostly dismissive of his Native American culture in order to make a profit with his gang.

Speaking of Fargo, there are echoes of the Coens’ work with stories and characters eventually colliding, all infused with a comedic streak and sly comments throughout. I did laugh a number of times, yet the jokes are ditched towards the end as we get a big violent climax with standoffs, shootouts and deals to be done as everyone demands their cut.

The surprise of the film is Halsey, the superstar real-life singer who I have to admit I’ve never heard of until now (showing my age). Her resourceful rocker chick, with a secretive religious sect background, steals every scene she’s in and I hope she continues her acting career with interesting roles like this.

Americana ends as a bit of a messy Coens/Tarantino mash-up that wants its cake (apple pie) and eat it. It never really commits to a serious or comedy tone and doesn't quite stick it in a way that Coens would. BUT as a debut film, Tost clearly shows a talent for the genre whilst adding themes of appropriation and respectful engagement with culturals into the mix as well.



Those looking for a no-nonsense thriller with a smattering of outlandish humour should check this multi-character crime caper out for an entertaining journey into American immorality.

★★★½

3.5 / 5

Michael Sales

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