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‘National Anthem’ Isn’t America’s First (Queer) Rodeo [1]

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Date: 2024-09-05

Editor’s Note: A version of this story first appeared in The Good, the Bad, and the Elegy, a newsletter from the Daily Yonder focused on the best, and worst, in rural media, entertainment, and culture. Every other Thursday, it features reviews, retrospectives, recommendations, and more. You can join the mailing list at the bottom of this article to receive future editions in your inbox.

Rodeos are known for their pageantry. The boots, belt buckles, fringe, and flags that define the event are most prominently on display during the performance of “The Star-Spangled Banner” that opens every rodeo. Now add a drag queen or two, and you’ve really got a show on your hands.

This iconic moment provides the title for photographer Luke Gilford’s directorial debut, “National Anthem.” The movie follows Dylan, a construction worker from rural New Mexico, as they find themselves through the world of queer rodeo.

Dylan lives with their mother, a hairdresser who is struggling with her sobriety, and little brother Cassidy. Dylan works odd jobs in construction to help support the family and plays a primary role in taking care of Cassidy. A person of few words, Dylan’s life revolves around their family. They dream of buying an RV and traveling the country but are trapped by their sense of responsibility for their brother. Lingering close-ups and thoughtful silences help the audience guess that Dylan has a rich internal life, but no one to share it with.

This all changes when Dylan climbs into a truck to be transported to a construction job and is whisked into the magical land of Oz, or in this case, a ranch called “House of Splendor.” The ranch is run by nearly a dozen queer and trans people who seem to also live on the property, commune style – the movie never goes into the day-to-day operations of the ranch, so the audience is left wondering about all those fun logistics (or maybe it’s just me).

An official trailer for ‘National Anthem’ (2023) (via National Anthem Film on YouTube).

But we do know House of Splendor is managed by Pepe (Rene Rosado), whose family owns the property, and his girlfriend Sky (Eve Lindley), a trans woman who dominates the field in barrel racing at gay rodeos around the state. Dylan is immediately fascinated by Sky, who they first see riding a horse in a beautiful flowy gown. It isn’t immediately clear whether Dylan wants to be Sky or be with her – Dylan is certainly questioning their sexual and gender identity but doesn’t come to any conclusions in the film. Either way though, Dylan’s fascination with Sky is mutual. In awe of being befriended by Sky, Dylan confesses to feeling like they are boring. Sky replies, “I don’t think you’re boring. I just don’t think you’ve found your people yet.”

Found family – close, sustaining relationships outside of one’s biological family – has always been critical for queer people. Much of “National Anthem’s” focus is on how finding your people can help you find yourself.

With the encouragement of the House of Splendor crew, Dylan experiences a series of firsts, from trying makeup and attending a queer rodeo to eventually performing in drag and competing as a bull rider. Dylan hides their new life from their mother, but includes Cassidy, who eventually attends a rodeo himself.

Despite the dreamlike quality of the ranch, life at the House of Splendor is not without its complications. Dylan’s infatuation with Sky does not go unnoticed by Pepe, and tensions between the trio threaten to upend Dylan’s newfound sense of place. When Dylan’s mother relapses, the question of Dylan’s identity – and where they belong – come to a head.

Dylan (Charlie Plummer) and Sky (Eve Lindley) survey the New Mexican landscape near the House of Splendor ranch in ‘National Anthem’ (2023) (Credit: Variance Films via IMDb).

Though at times the slow pace of the storytelling and the relentless series of intimate closeups can feel overdone (enough with the pining already, I thought to myself when watching in the theater), “National Anthem” still manages to pack a punch. The movie avoids tropes of both tragic melodrama and uncomplicated joy in favor of a more authentically complicated story. The events of the movie are simultaneously fleeting and transformative. And it addresses themes of love, family, belonging, and identity with sensitivity and nuance that make it worthwhile viewing.

It also serves as an effective advertisement for both the stunning New Mexican landscape and the community of queer rodeos, both of which are quietly celebrated throughout the film. As other reviewers have noted, the film treats the existence of this community as novel to Dylan, but not otherwise shocking. The movie itself and the gay rodeos it portrays are part of a long history of queerness in the American West. While cities like New York are often regarded as meccas for queer people, “National Anthem” reminds us they are far from the only places queer people call home.

A drag queen’s rendition of “The Star-Spangled Banner” in the final scene of the movie marks both the conclusion of the film and the beginning of the rest of Dylan’s life.

National Anthem is playing in select theaters and is also available to watch at home via rental or purchase on digital video platforms.

This article first appeared in The Good, the Bad, and the Elegy, an email newsletter from the Daily Yonder focused on the best, and worst, in rural media, entertainment, and culture. Every other Thursday, it features reviews, recommendations, retrospectives, and more. Join the mailing list today to have future editions delivered straight to your inbox.

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[1] Url: https://dailyyonder.com/national-anthem-film-review-luke-gilford-queer-rodeo-a-rich-rural-lgbtq-landscape/2024/09/05/

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