Slow West luxuriates in the excesses of the Western Genre by conflating the classic tale of the Odyssey with the violent tensions that strung the Easy Rider(s) across the classic American genre of the Road Movie. Jay needs Silas in order to complete his journey, but a voiceover narration at the outset gives us enough knowledge to know that it isn’t Jay’s journey that will define this film, ultimately: it’s Silas who needs to change. The film indulges in excessively stylized lighting, staging and editing, but the vista of the Old West has been significantly revised to look more spare, barren and remarkably endlessly wilderness. The familiar trope of the saloon and storefronts makes only a brief appearance, and within the exaggerated storytelling of an outrageous liar. Indeed, the stories everyone tells (from the point of view that hardscrabble Silas gives us) are ludicrous, outrageous and unbelievable. The remarkable balance that the film achieves include murdering of the Myth of Glorious Violent Conquering while allowing Silas, our narrator to shift just slightly toward a kind of idealistic hope even in the face of so much death.