National Anthem

In 2020, Luke Gilford, a photographer by profession, issued a book throat National Anthem that describes the queer population within the set of International Gay Rodeo Association. The photos are mesmerizing and gorgeous. Born and raised in the Southwest, Gilford was fond of rodeos since childhood. But the culture itself – masculine, often suppressive of gayness, did not welcome him. He would fence off the rodeo’s ideologies, only for him to stumble upon the IGRA. Speaking in an interview to Vogue Gilford said, ‘It was a revelation because I was, like, wow, you can exist safely in these spaces and find community and find do so many of the things that I love to do – but in a queer community,” – that’s how his views were and what changed them. Two years he traversed Texas, New Mexico, and Arizona recording the amazing subculture of the subculture. ‘National Anthem’ is Gilford’s first feature length film, and it is set in this community.

The character Dylan, 21 years (Charlie Plummer), can bear more burden than his youthful appearance suggests of him. His mother (Robyn Lively) does not look after her children and only comes home to drink and to bring children’s new fathers. So, all responsibilities regarding the younger brother of Kwan, who is not of age, are put onto the shoulders of Dillon. He does odd jobs and makes ends meets. He preps dinner for the quiet and sweet Cassidy; helps the child with homework; play dates where talking is also involved.

Tenderness accompanies him when it comes to his brother and out of courtesy, he offers patience towards him. Dylan is stashing money, all in aims of buying an RV. Freedom. Does Dylan have friends? The scenario suggests perhaps not. Girlfriend or boyfriend? Life is busy.

But he will settle, for such a pleasure, for fighting for one reason: one day he will get a two-week job at some ranch in the desert. And as the back of the pickup truck that is carrying him away from the house, he looks at the large letters inscribed at the top of the entry gate: House of Splendor. Moments after being inside the House of Splendor, Dylan knows it is not your regular ranch, quite the opposite actually. There are three women in poofy dresses on horseback that catch his attention. All are busy in one activity or the other (driving tractors, feeding animals, gardening), but the people on the ranch, albeit busy, do seem happy. Dylan is mesmerized. He is rather like Viola in Twelfth Night who pats herself on the back with the words “What country, friends, is this?” Pepe (Rene Rosado), who was the one of the ranchers to recruit Dylan gets him working and does not tell him at all what “country”, House of Splendor is located in. It is a hard job, but it is not harsh, since the atmosphere is cordial. Someone, who claims to be named Sky (Eve Lindley), a real woman on a horseback also dating mach, sends off a speeding bullet too fast into the sky. Dismissing his shyness, it was pretty clear she enjoyed his attention and so encouraged it. How is the tree? We all want to know.

“Chosen family” refers to the very deep felt need and value amongst many especially those whose own families have treated them poorly or abandoned them. The House of Splendor, inhabited by the queer rodeo riders of all sexual and gender variations, is a circle of “chosen family.” This was a completely new experience for Dylan, not in terms of different sexual orientations rather people exhibiting kindness and respect towards one another. These joyful people live at the ranch, grow their own food, raise animals and rodeo on the weekends. All this they involve Dylan in.

We are pretty sure these communities operate on pure utopia (or at least utopia for people who wish to be around others all the time). As mentioned above, we do not really get to know that many people from this community other than Sky and Pepe (and the lovely Carrie, who is played so endearingly and intelligently by Mason Alexander Park it literally pours out of the screen). Dylan has a crush on Sky; she is his first love who is magical but Carrie is the one who is the helper and the kind nurturing guardian. We all know, of course, that these people have survived the trauma of their families and the society not accepting them. The political element – like for instance Tennessee prohibiting any drag performance or other countries engulfing into a war, or the introduction of dangerous laws, etc – I was not in and does not do. But the absence of these facts lends even more beauty to the members of this community. Survivors these people are not. They are in the process of going full throttle. The world of these people is the rodeo. They did something. They have constructed the world they want to inhabit that will shield them from the harms of the society.

In an interview with Gilford, “One thing that I love about this community is that if you show up, you are invited. Enlightening on what it is. It’s what America is supposed to be. Something like that.” It’s not surprising why the “A” is the title.

Although Gilford has a rich perspective on cinema, he appreciates the details and it shows in several action sequences, especially the rodeo ones which have a documentary quality about them. Well, this was real men, doing real things. He is also receiving Dylan’s awakening, as Plummer too is, with such an open and transparent face that the camera collects every shot of her. But everywhere on his face is the spark of love that ‘to find his people’ (as Sky notes) is visible. Gilford and cinematographer Katelin Arizmendi aid us in this mission, and enrich our senses, as along with them, we all ‘fall’ in love with the world. The blue of the skies, the land, the orange over the horizon, the highlights on skin, the picture of all people living in the House of Splendor bring us into the world of those people. Gilford has a good grasp of the world, and it is apparent.

These people engage in, and even ‘stereotype’, all things associated with the spoils of the western lifestyle; ranching, farming, rodeos, line-dancing. It is a custom in this community for all present to take off their cowboy hats and put them over their hearts during the national anthem. They do this without any sarcasm or hooting. They are American, and this is also their culture whether the general public groups bota out them or otherwise.

The relationship of Dylan and Sky, along with the rather awkward and stereotypical ‘love triangle’ with Pepe, borders on cliche, but, fortunately, this is something that Gilford – and the actors – resist. As one is accustomed to, the visual articulation of the film is quite strong, very lyrical and tangible, which implies that “National Anthem” is not about Dylan and Sky’s chances as a couple, but rather “will they end up together.” To put it simply, ‘National Anthem’ is focused on this introverted little boy and how he is searching for ‘his people’ or his supportive group. Their continued presence is not even necessary, not anymore. He has realized that there is an enormous external world that existed outside the boundaries of those he had known prije.Radosti. Permeability. Canyon. American citizen, smashed up, good for Dylan, as well as for his small brother.

In his introductory remarks for the National Anthem monograph, Gilford stated: “One of the great powers of the queer rodeo is its ability to undo America’s rigid boxheads, which survive in civil society through a triangulation that cannot encompass the real people and who we are – the liberal, the conservative, the urban, the rural, the ‘coast’ or ‘middle’ America. Finding a community that accepts both poles of the spectrum is quite exceptional. “National Anthem” is kind, gentle, sweet, and does not speak of all of these in its words, but rather uses the images to invoke these feelings in those who are viewing it. Few people take the time to spell out the concept of the film in the form of a long speech.

The theme is evident in every frame, quite notable is Gilford’s love for the characters. It’s good that I’ve met them […] that I was able to step into their world for a while.

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