The 40 Saddest Movies to Watch on Amazon Prime

Understated in budget but lavished with praise, this semi-autobiographical drama by Daniel Destin Cretton flings its audience into the chaotic lives and personal crises of at-risk youths and the passionate social workers that aid them. In his first feature film, the young director draws the viewers into the storm of events and the emotional ups-and-downs of social work in America, going from uplifting to depressing and back – and every emotion in-between.

Set in the real-life and eponymous group home Short Term 12, devoted but troubled foster-care worker Grace is played by Brie Larson, whose shining performance in her first leading role was lauded by critics. Fans will also recognize the supporting actors Lakeith Stanfield and Rami Malek, who broke out in this movie. Short Term 12 is now considered one of the most important movies of 2013 – some say of the decade – owing to its immaculate writing, intimate camerawork, and gripping performances.

Legend has it that director Derek Cianfrance had the co-stars and co-executive producers Michelle Williams and Ryan Gosling live together in the same house for a month in preparation of their roles. The fictional couple they play in Blue Valentine lived in the same house. True or not, this created the harsh proximity, intensity, and claustrophobia that is a hallmark of this production. Blue Valentine brings us painfully close to the couple’s attraction as well as their agony.

In this way, Blue Valentine is a heart-breaking examination of the decaying shell of a once-bright marriage. As sad as it is sexy, it mixes intense flashbacks of past desire with the grim reality of married life’s monotony. It boasts an electrifying performance from Michelle Williams and Ryan Gosling, who seamlessly combine tenderness and lust, rage and sadness. This is a guaranteed tear-jerker, so make sure you’ve brought your Kleenexes!

While barely 90 minutes long, Cold War is epic in scope and a modern testament to what cinema can be. Whether we are feasting our eyes on the decaying post-war landscape of Poland, the patinated streets of East Berlin, or the delicate magic of a historic Paris, Cold War offers its viewers meticulously staged black-and-white beauty, conceived by Polish wunderkind director Paweł Pawlikowski and his trusted cinematographer Łukasz Ża. Winner of a slew of prestigious awards, this is a film made for the silver screen, so we recommend leaving your iPhone on the table and getting your hands on the biggest screen you can muster for watching this. The plot is essentially about the obsessive attraction between musician Wiktor (Tomasz Kot) and the young singer Zula (Joanna Kulig), who is recruited as the newest member of the former’s state-sponsored folk music band. Cold War follows their impossible love for fourteen years and across many European countries on each side of the Iron Curtain. It is a statement on how far artists go for their art, especially when they become constrained not only by dictatorship but also love. A poetic, sexy, and gorgeous movie without a wasted moment. A work of art.

From the producers of The Kids Are Alright comes another excellent family drama starring Juliane Moore. She plays a hot-headed rock singer who battles her divorced husband, a narcissistic art dealer, expertly played by the unlikely Steeve Coogan, for custody of her daughter Maisie. When one of them marries the girl’s nanny, the other rushes into marriage as well. Based on Henry James’ titular novel from 1897, it tells the story of a quiet, sensitive young girl coping with being used as a pawn by egotistical parents who spite each other. It is sometimes hard to watch the girl get caught up in all this but the young actress playing Maisie, Onata Aprile, plays the part brilliantly. The screenplay adaption of the ahead-of-its-time material of the book by Nancy Doyne and Carroll Cartwright also hits every note with passion. A harrowing but powerful film.

Winning him Best Director at the Academy Awards, Kenneth Lonergan’s drama Manchester By the Sea is a delicate and profound study of loss and grief—and a true triumph. Its focus on characters, well-paced unfolding as well as world-class acting are only equal to the very best of European dramas. This type of quiet exploration of the possibility that grief cannot be overcome has rarely been successful in American cinema, if ever. The last best attempt was probably You Can Count on Me. Originally a playwright, this is Lonergan’s third film and Manchester by the Sea is where he unveils his full potential. It follows a depressed handyman, Lee Chandler (Casey Affleck), who leads a quiet but angry life. After his brother dies, he returns to his hometown only to discover that he is the only left to take care of his teenage nephew. There, he is confronted with his past and the blue-collar community from which he was raised. Co-produced by Matt Damon, it grossed around $80 million on a budget of $8.5 million. One of the most noted films of 2016.

How do you make a film about the Holocaust feel new? How do you make the terrors feel fresh, like it was just in the news, without sounding redundant or without giving into the sensationalized and emotionally manipulative? For Director Jonathan Glazer, the answer lies in not what you show but what you don’t show. The Zone of Interest is shot from the point of view of Nazi Officer Rudolf Höss (Christian Friedel) and his wife Hedwig (Sandra Hüller), who live a dreamy life right next to the infamous Auschwitz death camp. Glazer frames them plainly and without flourish as they ignore (or, arguably, revel in) the glow of burning bodies, the howls of pain, and the billows of smoke coming from the torture chamber a wall away. It’s a powerful, nauseating contrast that turns the question from “How can they do this?” to “Who among us is committing the same things right now?” Who among us is casting a blind eye to the atrocities and genocide being committed at this very moment to our neighbors? The film, which is also a technical feat in terms of the way it’s shot (the crew and cameras remained hidden so that the actors were free to roam, as if in a play) is chilling and thought-provoking, and it will unnerve you for days on end.

Andrew Garfield is a single father living with his own single mother in their family home. In the aftermath of the financial crisis, they find themselves evicted from their home by a businessman – Michael Shannon in a role as intriguing as Gordon Gekko in Wall Street, if not more. Desperate for work, Garfield’s character starts working for the same businessman, ultimately evicting other people. A star-packed, gritty and sobering tale on capitalism and our the lengths to which we’re ready to go to save face – while at the same time risking our most important relationships.

Steve Carrell delivers an amazing performance here. Beautiful Boy is a movie that is based on a true story that first appeared as a best-selling serialized memoir.
It’s about a son’s journey through drug abuse and how his relationship with his father evolves. The son is played by Timothée Chalamet (Call Me By Your Name), Carrell is the dad.
As you can probably guess, the themes of drug addiction and family are made to induce tears, which this movie manages to do in a lot of ways. It can come across as somewhat emotionally manipulative at times. In those moments, it helps to remind oneself that it is based on a true story.
The performances and the exploration of the limits of the father-son relationship remain the reasons why you should consider watching this movie.

Grounded by Lesley Manville and Timothy Spall’s powerhouse performances, this gut-wrenching family drama from Mike Leigh is an acting juggernaut. Penny and Phil are a working-class couple whose marriage is rapidly deteriorating and pushed to the brink when their son, played by a young James Corden, is hospitalized. 

While Manville and Spall are centered as the leads, Leigh draws a staggering amount of depth from Corden as well as a young Sally Hawkins who plays a neighbor. Despite being one of Leigh’s grimmest films, there is still a profound sweetness lingering at the edges as the story teeters between despondency and hope.

Three half-Puerto-Rican, half-white boys grow up in suburban New York in this personal movie shot on stunning 16mm film.

This movie follows the boys, often literally with the camera behind their backs, as their parents’ relationship goes through turmoil. The kids are often left unattended and have to fend for themselves. The beauty of We the Animals is illustrating how they grow-up swinging between the angry character of their father and the protective nature of their mother.

This is one of the best movies I’ve seen in a long time, and I think I loved it so much because I was able to relate and feel for the main character (one of the boys). I really hope you will too.

The Children’s Hour was one of the few sympathetic depictions of a lesbian character at a time when same-sex relationships were illegal. That being said, the film doesn’t really focus on forming a couple. It’s also about how destructive the rumor mill can be, but really, the film is  mostly an indictment of how terrible society treated queerness back then, ending people’s livelihoods, reputations, safety, and yes, even their lives all in the name of propriety. Director William Wyler adapts this play with the gravity it deserves, through shots that frame the dynamics between every performance and a camera that scrutinizes its casts’ faces. Audrey Hepburn and Shirley MacLaine delivered their anguish through excellent performances.

Ever wondered how much your life will change when faced with the reality that death is about to come? That’s normal, and not nearly as life-altering as being told you only have a few more moments to live. Because of a terminal illness, Uxbal (Javier Bardem) is driven to this situation and tries to right his wrongs in the wake of modern Barcelona. This melodrama is supercharged by Bardem’s unearthly performance as the story’s only hero, demonstrating the selfless love of a destroyed and dying father to his children – paired with cinematography unlike any other, this film is exceptionally beautiful. Directed by González Iñárritu’ (Babel, Birdman, The Revenant).

Organized crime and drug dealing has been a topic of many a film, sometimes even glamorizing the whole endeavor, but rarely do these depictions acknowledge the weight it can do to a culture, particularly indigenous cultures. Birds of Passage is a film about drug dealers, but it’s a much more distinct take, tackling Colombia’s reputation for the drug trade through the lens of an indigenous group that hasn’t been totally colonized, that still keeps its language, rituals, and legends, but is still pushed to the brink due to far more lucrative reasons. It does take fairly familiar plot points, but Birds of Passages transforms the narco crime drama with a different direction.

In the fallout of his conflict with producer Tsui Hark, filmmaker John Woo was alone, virtually blacklisted, and unable to find funding for what could have been the prequel to A Better Tomorrow. Because of these circumstances, he self-funded this action thriller Bullet in the Head. Of course, it’s possible that the themes of brotherhood, loyalty, and betrayal are entirely coincidental, but nonetheless, Woo crafts a compelling narrative, helped by its haunting score and the tear-tracked performances of the three leads. Setting the film in the Hong Kong riots and Vietnam War, Bullet in the Head reveals how war never leaves any relationship unscathed, not even between those who proclaim to be brothers.

Demian Bichir was nominated for an Oscar for his role in this movie where he plays an illegal immigrant and father. You might be wondering “who is that?”, but trust me you won’t after watching this movie. The kindness, complexity, and authenticity he brings to this story are unparalleled.

A Better Life is about the illegal immigrant experience, about the line between the fear of being caught and the aspiration for a better future. It’s an excellent and important movie. 

Featuring real, in-the-moment footage of operations to rescue young queer individuals from the continuing anti-gay purges in the Chechen Republic, Welcome to Chechnya makes for a demanding but essential call to action. There’s a genuine sense of fear that pervades the documentary, not just for those being rescued after being forcibly outed, beaten, and trapped by the people around them, but for the filmmakers themselves, whose operations are built on meager resources and desperate, spur-of-the-moment decisions. It’s a remarkably courageous film—one that also presents new ways of keeping sensitive subjects safe through the thoughtful use of deepfake technology, keeping their identities hidden while allowing them to freely express themselves.

Despite how the title sounds like, the horror of Bedevilled isn’t a devil, a demon, or a spirit. It isn’t even the way childhood friend Bok-nam snaps, taking up a scythe and going on a murderous rampage to kill all the people that wronged her. No, the actual horror of Bedevilled is that everyday people like bank employee Hae-won would hesitate to do what’s right. Reading that sentence can sound cheesy, but writer-director Jang Cheol-soo structures the film, and her visit to Modo, in a gradually escalating manner. When Hae-won first lands, the mean gossip seems ordinary, but the film takes these ordinary, if overcritical, words, and delves into the subtext, especially the darker implications that makes the film difficult to watch. The film does understand Hae-won’s hesitancy– the scenes do acknowledge that reporting could mean retaliation, and the score consistently meets that very fear. But Bedevilled also understands that, if hesitancy allows abuse to be left unchecked, the very same violence that Hae-won was (and many people are) avoiding will inevitably escalate.

Due to the possibility of death, Buoyancy cannot be made as a documentary. This film, after all, sheds light on today’s real life slavery. But that doesn’t mean it’s no less true. The script was written based on interviews with real life survivors, who, of course, would rather not be filmed due to their safety. The characters were written to closely reflect them, which was why, even though the studio is Australian, they casted Thai and Cambodian actors, and wrote the dialogue in their respective languages. And the story that writer-director Rodd Rathjen created, gradually escalates the terror Chakra faces on the whims of a cruel captain, with each new experience slowly scrapping off the innocence that was supposed to be protected. Buoyancy is not a documentary, but it works as a necessary exposé of slavery in Southeast Asian seas because of Rathjen sticking true to the sadly real life atrocity.

Rife with controversy and released after one of the leads’ death, it’s no wonder that The Misfits was commercially panned upon release despite the big names on its cast. But make no mistake– it’s a pretty good movie. It’s not the usual movie that the leads would have made, but maybe it’s because of this that Clark Gable, Marilyn Monroe, and Montgomery Cline delivered some of their best performances. At first glance, the film presents their usual star personas, but the story twists their usual plots in a melancholic, eerily prophetic way, culminating in a last-ditch effort around the desert that gets them to question what they have become. Classic film fans might find it tough to watch the film without thinking about the later tragedies the actors faced in real life, but The Misfits marked a shift for the Hollywood studio system, eventually garnering a reputation as a cult classic.

Chinese artist Ai Weiwei directs his attention towards the ongoing refugee crisis, the biggest displacement of people since World War II. His documentary is apolitical and tries to focus on the human side of the picture. It’s not a news report or a commentary on the causes of the situation. Instead, it’s a combination of heartfelt stories spanning 23 countries that showcase people’s battle for dignity and basic rights. A truly epic movie complemented by impressive drone footage that’s as impressive as it is sad.

Till is a very political film. It’s charged with the kind of rage and electricity that enables thousands to mobilize for a cause. But before it explodes into something grand, it begins with the small details of everyday life. A mother admires her son as he dances to his favorite song. She buys him a new wallet and goes over the things they’ll do over the summer. These things seem trivial, but they reveal the humanity that sometimes goes overlooked in telling epic stories such as these.

To be sure, Till is a necessarily brutal film about grief and justice, but it’s also about how political movements are borne out of small and personal devastation. This nuance, along with a jaw-dropping performance by Danielle Deadwyler, makes Till a standout: a powerful entry in a long line of social-issue dramas.

Best known for landmark cyberpunk anime Akira, Katsuhiro Otomo crafted strange and terrifying visions of a world that has not yet come, imagining technology that surpassed that of today, but in much pessimistic light compared to that of the genre. Three of his manga short stories are depicted in Memories, with Otomo partnering with Kōji Morimoto and Tensai Okamura to direct each segment, and with Satoshi Kon in writing, just before Kon’s own iconic surrealist films. Kon-written Magnetic Rose has been universally acknowledged as the best of them, being much more emotionally poignant, but the other two does have its charms, as Stink Bomb takes a relatively silly premise to its fairly logical, but scary conclusion, and Cannon Fodder takes the beauty of Otomo’s art into such a hollow and ugly world. All three deliver terrifying omens of death through technology used against the everyday man, whether by accident or design.

When Mikey Saber’s porn career takes a dip in California, he returns to an estranged wife in Texas, where he meets new and old friends alike and attempts to rebuild his life through a couple of odd jobs. Though Mikey eventually earns his keep, his vanity and eagerness to succeed at all costs threaten to get the best of him.

All this happens against a vibrant backdrop of local sights, beautifully lit and framed by director Sean Baker (The Florida Project, Tangerine). Quaint, naturalistic, and ever-so-subtly political, Red Rocket is another great entry into Baker’s impressions of the vexed American Dream.

With an acrobat in a sanitarium, elephant trunks spouting blood, and a religious cult whose patron saint is a rape victim, Santa Sangre isn’t going to be an easy watch, especially with the avant-garde direction of the iconic Alejandro Jodorowsky. It’s tough to watch the explicit scenes, both of Fenix’s childhood circus reality and his adult hallucinations, with the hallucinations visually recalling his childhood trauma. But through these terrifying, freaky images, Jodorowsky takes his own memories and crafts it into a twisted, but deeply personal psychosexual nightmare, confronting the exploitative nature of faith and family through various circus acts. Santa Sangre is one of its kind.

When striving towards your life goal, some concessions have to be made in order to get there, e.g. you would forgo some wants in order to fulfill that higher purpose. But how much are you willing to sacrifice? Mario is a sports drama about an aspiring football player that wants to make it higher up in the league, but it’s also a queer drama, since to be that professional means to stick to a rigid notion of masculinity for the fans, for the sponsors, and sometimes for fellow homophobic teammates competing against them. At two hours, the naturalistic depiction of Mario’s experience might be a tad too long for some viewers, but the film understands the fear, the pressure, and the compromises gay athletes are forced to go through.

With numerous adaptations of the titular creature of the night, it’s inevitable that Nosferatu the Vampyre would be compared to its other versions. Nevertheless, Werner Herzog’s colored talkie version sticks close to the classic Expressionist film down to having many of the same scenes recreated beat for beat, but there’s a clear reverence to the source material here, with Herzog’s fascination towards madness easily translating the images made half a century ago into visual, hypnotic spectacles that somehow surpass the groundbreaking scenes before. Nosferatu the Vampyre will always be compared to the 1922 original, and of course, the following 2024 American remake, but Herzog makes this version his own through his signature style.

Family movies were made to teach a lesson or two – whether it be loving dear parents, being a tad empathetic about others, or simply cherishing the moment. Like a true family dramedy, August: Osage County is all that, and more. The Westons is a family seemingly (actually, more like) falling apart at the seams – what with patriarch Beverly (Sam Shepard) going missing, mother Violet (Meryl Streep) suffering from alcoholism and pill-addiction, and some well-kept secrets distancing the siblings that are, well, under the table. This drives the Weston-daughters to come home after diverging many moons ago and chaos ensues.

With an overly talented ensemble headlined by Streep as the cancer-ridden matriarch of the Westons and Julia Roberts as her eldest, supremely in-denial daughter, it’s easy to see why this has gathered five Academy Award nominations to its name.

The Reader is a German-American drama from 2008, based on the best-selling novel by author Bernhard Schlink. The storyline begins with adult Michael (Ralph Fiennes) reminiscing about his adolescence in post-World War II Berlin and his fateful relationship with an older woman named Hannah (Kate Winslet). 15-year old Michael is beset by Scarlet Fever and helped off the street one day by Hannah. Taken into her care, they soon begin a passionate affair, quickly forsaking family and friends for every opportunity to ensconce themselves in a world of lust and desire. As their time together progresses, Hannah begins urging Michael to read to her daily—to which he draws from many classic novels and delights in their rich interchange.
Hannah suddenly disappears from Michael’s life, however, only reappearing several years later when young law student Michael is stunned to find her facing a World War II war-crimes tribunal. Tied to a real-life series of trials against former Auschwitz employees, The Reader is a strikingly original and exceptionally well-made film that is recommended to those who appreciate sophisticated, emotionally mannered cinema.

Prior to being defined by that fateful bombing in 1945, Hiroshima was like any other city outside of Tokyo; small but full, quiet but busy, and in the midst of a slow-but-sure journey to modernization. We experience the rich and intimate details of this life through the kind-hearted Suzu, who herself is stuck between the throes of old and new. She is an ambitious artist but also a dedicated wife; a war-wearied survivor and a hopeful cheerleader.

Set before, during, and after the Second World War, the film starts off charmingly mundane at first, but it quickly gives way to inevitable grief in the second half. One stark tragedy follows another as it becomes increasingly clear how much we lose our humanity in war.

In This Corner of the World is the rare film outside of the Hayao Miyazaki canon that captures the latter’s heart for detail while still being graciously its own.

There is goodness within everyone… supposedly. However, there are some instances where the belief is almost foolish, some sins done against humanity that can’t be explained, reasoned out, or defended. Henry: Portrait of a Serial Killer challenges that notion in three characters (the titular serial killer, his fellow ex-con Otis, and Otis’ sister Becky) and in the silent, unprotesting way writer-director John McNaughton makes us witness their lives. While true crime aficionados and horror fans might find this rather tame, the true horror of this portrait isn’t in the kills, but rather in the way we’ve become accustomed to this violence, the same way a literal serial killer would be.

Irish period drama Monster is downright depressing. Of course, for some viewers, that’s just part and parcel of any period drama– without the scientific advancement, the philosophical debates, and the sheer convenience of the modern world, it can be easy to imagine a bleak past. But, like some of the best depressing period dramas, Monster makes clear just how bad things were and what we should never do again. Through depicting An Gorta Mór, or the Great Famine of Ireland, in the eyes of a small village, through visualizing the story so many people from Ireland have heard from previous generations, and through its strong performances, Arracht is a striking reminder of the trauma deliberately struck upon Ireland, the memory that is still strongly felt today.

Usually a film like this wouldn’t care to take the perspective of the perpetrator, and would instead dramatize a heavy, unsettling feeling around a victim being caught within their operation. But Felicia’s Journey doesn’t take that route– instead, at the same time, we meet both serial killer and potential victim through a snapshot of their lives, with writer-director Atom Egoyan adeptly intercutting Felicia’s Journey with Hilditch’s video-recorded childhood and Felicia’s much more natural flashbacks. It’s an interesting visual take on the 1994 novel, that doesn’t take the usual thriller motifs and that would rather linger on studying the characters. Felicia’s Journey might be Egoyan’s first non-R rated film, but it still delivers his signature uneasiness and eeriness he is known for.

Adapting the semi-autobiographical novel from a Holocaust survivor, Fateless was sure to remind people of other films depicting this atrocity. It is, after all, the same historical event. However, the perspective is rather different. The details Gyuri remembers are details that other films don’t recall– the lie about his age that spares him the gas chambers, the extra rations he got by hiding his bunkmate’s death, and the last image of the camp he has as he’s carried over the shoulder. All the details combined recreates the uncertainty and lack of control that people like Gyuri have faced, both during the war and after. Fateless remembers how the world couldn’t make it right.

Christine is about Christine Chubbuck, an awkward and complex reporter who was the first person ever to commit suicide on live TV.

Rebecca Hall is terrific as Chubbuck and goes to great lengths to communicate the personality of her subject matter. The movie might seem slow at times, and her acting off, but it’ll all make sense once she immerses you in the complex reality of the character.

An interesting story and an incredible performance.

Adults and kids can be friends, but there’s obviously a line that shouldn’t be crossed. This line is why most people would look at a friendship like this and automatically assume terrible things, but Lawn Dogs depicts one such connection in such a way that it’s clear how easy and disproportionate these assumptions are made for marginalized and less powerful people, over the affluent sociopaths that can and have gotten away with the accusations they lobby against others. The fairy tale ending, and of course, the disgusting behavior done by the rich guys, might turn some viewers off from the movie, but there’s also something genuine with the way screenwriter Naomi Wallace depicts a girl with a literally different heart who just wants to befriend someone real.

One of the worst aspects of war in general is that it always interferes with the hopes and dreams of the people that are living through it. The Road Dance depicts a small Scottish village in World War I, and a woman whose plan had been interfered with. It’s a bleak story, one that’s been inspired from an anecdote passed down through generations, but while the film doesn’t claim to be accurate, it does depict a tragedy that is difficult to talk about with sensitivity and the rare compassion that was granted sporadically to real life survivors. Writer-director Richie Adams softens some of the dark parts from John MacKay’s original novel, and while some of the plot veers a tad too much to melodrama, the three leading women– Hermione Corfield, Morven Christie, and Ali Fumiko Whitney– depict the central family with grace amidst the stunning landscape of the Outer Hebrides. The Road Dance can be triggering, but it’s worth watching for people that love period dramas.

Released in the same year as the title, Nineteen Eighty-Four stands as a picture of a future that has not come to pass, at least as of writing. It’s a bleak vision. The novel’s world has been adapted to the screen in the grayest and coldest of settings, as the mass populace eat slop, dress plainly, live in war perpetually, and hold no pleasure other than what was allowed by the ruling Party, not even able to enjoy their own thoughts. So, while there is much more from the novel that this adaptation could have fleshed out further, Nineteen Eighty-Four nonetheless works because the worldbuilding is fleshed out. It effectively captures a world so emptied out by totalitarian rule and surveillance with no escape.

Always follows the story of Jeong-hwa and Cheol-min, both very different individuals who are gentle in their own way. The story starts off by demonstrating how different the leads are in terms of their personality and their outlook on life. The plot can be a little predictable and cliche in some moments, but Always is not a complicated movie—though in addition to being a romance, it also includes some surprising violence that may intensify your viewing experience. Still, Always is about the two leads’ struggle against fate as they try to survive their tough situations, with strong chemistry between the lead actors from start to finish.

You’d expect a film with a premise like this to make constant parallels between its two main storylines, or to at least have them intersect more often and more significantly. But impressively, Mast Mein Rehne Ka makes the jump from chance encounter to wandering slice-of-life drama with ease—becoming a portrait of Mumbai and the isolation that various people experience due to discrimination against their class, their age, or their gender. The film’s tonal balance certainly isn’t perfect, as the more lighthearted adventures of the widower begin to clash more severely with the literal life-or-death situations faced by the young would-be thief. But consistently solid filmmaking and heartfelt performances smooth over the rougher edges and the occasional bits of dramatic excess.

While most people were aware about the devastating atomic bombs dropped on Hiroshima and Nagasaki, less people knew about the continued nuclear testing during the Cold War that occurred on American soil. Downwind shines a light on this in the usual documentary fashion, but it’s an important discussion to have, as the state government deemed nuclear testing in a cheaper place more urgent than the lives of the native Americans living near the plantation, and as the death of one of Hollywood’s leading men unable to even change this. While it was interesting to hear from Hollywood stars, Downwind works best in discussion with the Shoshone Nation, who bore the brunt of the consequences of nuclear fallout.