"Rebuilding" is A Quiet Hopeful Drama Held Together By Strong performances.

Directly, Max Walker-Silverman clearly has a deep affection for the quiet corners of Colorado. You can feel that love in “A Love Song,” and it’s evident again in “Rebuilding,” a film that is grounded in themes of loss, open skies, and the kinds of people Hollywood often overlooks.

While the film follows a familiar post–Chloé Zhao formula, I must admit upfront that I’ve never been a big fan of Zhao’s work. I respect her craft, but her style of “poetic minimalism” has never resonated with me. Interestingly, “Rebuilding,” while borrowing some of Zhao’s tone, appealed to me more than I expected.

The story centers around Dusty, portrayed with soft-spoken vulnerability by Josh O’Connor. After a wildfire devastates the generational ranch he envisioned as his future, Dusty moves into a FEMA trailer surrounded by strangers, regrets, and the realization that rebuilding isn’t just about constructing walls—it’s about determining which parts of your life are worth saving.

His ex-wife, Ruby (Meghann Fahy), their daughter, Callie-Rose, and the extended family encircling this wreckage add emotional stakes that Walker-Silverman handles with wise restraint rather than exploitation.

The core of the film lies in the makeshift community that forms around Dusty. Mila, a widowed mother played by Kali Reis, offers a grounded warmth that beautifully contrasts with O’Connor’s introspective nature. Their interactions with their daughters—wandering the charred remains of the ranch and decorating Dusty’s trailer with glow-in-the-dark stars—deliver some of the film’s most poignant moments. These scenes don’t attempt to reinvent the wheel; they breathe.

I must also commend Amy Madigan. Fresh off her powerful performance in “Weapons,” she takes an entirely different approach here, embodying a weary yet loving mother-in-law who refuses to let Dusty—or life—off the hook. It’s a subtle performance and one of the film’s quiet triumphs.

That said, “Rebuilding” doesn’t entirely evade the challenges typical of its genre. Some characters drift in and out without leaving a significant impression. Specific conflicts feel merely hinted at rather than fully explored. Furthermore, Walker-Silverman sometimes leans heavily on “show, don’t tell”—occasionally to the extent that one wishes he would provide a bit more exposition.

However, the film never feels exploitative or hollow. Walker-Silverman finds dignity in the everyday struggles of ordinary people who are picking themselves up. The pacing remains gentle without becoming sluggish, and his genuine affection for this Colorado landscape is palpable.

While “Rebuilding” may not achieve the transcendence sought by Zhao’s fans, it is heartfelt, hopeful, and anchored by a handful of sincerely beautiful moments.

Final Grade: B-.

“Rebuilding” is currently showing in New York on November 14 and will continue rolling out nationwide through December.