Kelly Reichardt’s latest film is, in most ways, of a piece with her previous films. Quiet in tone and measured in pacing, First Cow continues Reichardt’s sympathetic and observant explorations of the lives of outsiders and people on the margins. Like the settler women of Meek’s Cutoff and the homeless drifter of Wendy and Lucy, First Cow’s protagonists don’t have meaningful control of their destinies, despite their efforts to lift themselves out of their assigned places in the social and economic order. And like the radical environmentalists of Night Moves, First Cow’s protagonists aren’t above breaking laws in pursuit of their aims. First Cow, however, is perhaps the first Reichardt film that combines her keen-eyed artistry with genuine entertainment. Less grim than Wendy and Lucy, less cynical than Night Moves, more accessible than Meek’s Cutoff, and more tightly plotted than Certain Women, First Cow is an engrossing, engaging study of life in early nineteenth-century Oregon and two of its unlucky but ambitious inhabitants. Adapted from a novel by longtime Reichardt collaborator Jonathan Raymond, it has the rhythms of a folktale—and the lessons of one—detailing what might happen when clever, resourceful striving tips over into dangerous hubris.