𝙏𝙝𝙚 𝙇𝙖𝙨𝙩 𝙈𝙖𝙣𝙝𝙪𝙣𝙩

The Last Manhunt (2022): A Revisionist Western Rooted in True History

The Last Manhunt (2022) is a visually evocative and culturally significant Western that re-examines a little-known historical event from the perspective of Native Americans. Directed by Christian Camargo and co-written and produced by Jason Momoa, who also stars in the film, this revisionist Western sets itself apart from traditional genre narratives by giving voice to the often-overlooked indigenous side of American frontier history.

Set in the early 1900s in the unforgiving desert landscape of the American West, The Last Manhunt is based on the true story of Willie Boy, a young Chemehuevi man who becomes a fugitive after a tragic shooting. When Willie Boy kills the father of his love interest, Carlota, during a confrontation—reportedly in self-defense—the young couple flees into the desert. Their escape triggers a massive manhunt, sanctioned by the government and fueled by media sensationalism, which quickly spirals into a tragic pursuit driven more by politics and prejudice than justice.

The film’s narrative is deeply rooted in Native American oral history, contrasting the heavily mythologized 1969 version of the story (Tell Them Willie Boy Is Here) by offering a more authentic and empathetic perspective. Jason Momoa, of Hawaiian and Native heritage, was deeply invested in retelling the story in a way that honored indigenous culture and voices. This is evident in the film’s use of Chemehuevi language, customs, and the casting of Native actors in key roles, which lends the story a rare sense of authenticity.

Visually, the film is stunning. Cinematographer Robert Lam delivers breathtaking shots of the Mojave Desert, capturing both the beauty and harshness of the terrain. The desolate landscape becomes a central character in its own right, emphasizing the isolation and desperation faced by the fugitive couple. The minimalistic score adds to the haunting atmosphere, allowing the natural environment and emotional weight of the story to shine through.

Performance-wise, Martin Sensmeier plays Willie Boy with a quiet intensity, portraying a man caught between love, cultural displacement, and survival. Mainei Kinimaka’s portrayal of Carlota adds emotional depth and strength to the story, presenting her not as a passive romantic figure but as a resilient woman in her own right. Jason Momoa plays Big Jim, a tribal tracker caught in the moral complexities of pursuing one of his own.

One of the film’s strongest aspects is its willingness to confront the darker truths of American history—namely, the erasure and criminalization of Native identities. Rather than glorify the Old West, The Last Manhunt challenges audiences to reconsider who gets to tell historical narratives and why certain voices have been excluded. The slow pacing and meditative tone may not appeal to fans of action-heavy Westerns, but for those interested in historical justice and indigenous representation, the film offers a compelling, necessary re-evaluation of the genre.

In conclusion, The Last Manhunt stands as an important entry in modern Western cinema. With its commitment to authenticity, cultural respect, and historical correction, it sheds light on a forgotten chapter of American history and honors the voices that have long been silenced. It is both a somber love story and a profound reflection on justice, legacy, and identity in the American West.