The film’s violence is sparingly used yet powerful, its characters are unconventional but captivating, and its storyline, though simple, is layered with deep and complex emotions. It explores the lives of individuals marginalized by society—those deemed undesirable and unable to conform to societal norms, despite their efforts. The film conveys an uncanny sense of sadness and isolation, managing to avoid melodrama or manipulation. At times, it even injects a touch of dark humor into its somber narrative, creating a film that acknowledges its tragedies without derision. “The Homesman” is a film of such quality that it ranks as No. 12 among Jones’s directorial works.

Though Jones contributes as director, co-writer, and one of the leads, the true star of the film is Hilary Swank. Swank delivers a commanding performance as Mary Bee Cuddy, a woman who enlists Jones’s character to help transport a group of mentally ill women across the frontier. Her portrayal of Cuddy—a character of great integrity yet burdened by misfortune—anchors the film. Despite Swank’s current struggles with securing roles, her performance here is a testament to her talent.

Adapted from Glendon Swarthout’s 1988 novel, “The Homesman” unfolds in the 1850s Midwest, where Cuddy, a solitary farm owner, volunteers for a task no man dares accept. She takes on the responsibility of transporting three women, each mentally unwell, to a church in Iowa after their husbands abandon them. The men, cowards at heart, shirk this duty, leaving Cuddy to step up. In preparation for the arduous journey, Cuddy encounters George Briggs, portrayed by Jones, who she rescues from a grim fate on the condition that he assists her. Though initially reluctant, Briggs agrees to help for a fee of $300, despite his penchant for whiskey and his dubious reliability.

Based on Glendon Swarthout’s 1988 novel of the same name, “The Homesman” tells the story of Cuddy — a spinster living in the Midwest in the 1850s and tending to her small farm — as she volunteers for a job that no man wants to take on. She steps up to transport three mentally ill women by carriage to a Methodist church in Iowa after their husbands gave up on them. It shouldn’t be her duty, but all the men involved back out for various, cowardly reasons. While getting ready for the trip, Cuddy encounters George Briggs (Jones), tied up and left on horseback with a noose around his neck for stealing the land of a man. She saves him with one condition: he needs to help her escort the three women, no matter what. Briggs reluctantly agrees to the deal.

Although he is a drunken buffoon, Briggs eventually honors his word. All he asks for is a pistol, cartridges, and a jug of whiskey — while noting that he could abandon Cuddy whenever he wants. He won’t, because she offers him $300 if he stays the entire journey. The three wives, Arabella (Grace Summers), Theoline (Miranda Otto), and Sonja (Gro Svendsen), have all suffered different traumas that shattered their state of mind. The causes are shown in flashbacks, and they’re the most soul-stirring, potentially upsetting moments of the film. These women are so far gone that society renounces them.

Cuddy and Briggs, meanwhile, are outcasts of society, too. Which makes them fitting for the job, and for each other.

Although Cuddy is smart, educated, and savvy, she’s slowly growing desperate due to being unable to find a man to marry her. They deem her too plain and bossy. Briggs, on the other hand, spent most of his life as a runaway, never committing to anything or anyone, and seeing that, falsely, as the ultimate freedom. He’s harsh, callous, and sometimes volatile, but he’s not blind to affection and kindness, even if he often acts like a heartless bastard. 

When he sees Cuddy treat the helpless women with tenderness throughout the trip, it affects him, too. He appreciates her humanity and care, gradually growing closer to her. But he’s no savior or hero — and Jones understands that perfectly both as an actor and filmmaker. Swank’s determined yet soulful portrayal of Cuddy is the heart of the film, and Jones (as a director) never sways away from uplifting her in every way he can, even when the final act of the movie unexpectedly falls on Briggs’ shoulders, forcing him to carry the story to its close.

“The Homesman” is far from an easy film, and many might struggle to interpret what its message is meant to be. It talks about loneliness, ostracism, and the power of kindness, but it never provides definite answers to some big questions. Viewers have to draw their own conclusions, and if you’re willing to do that, you might find something precious, poignant, or even upsetting. The movie’s power lies in being able to elicit all of those outcomes due to a wide range of emotions. For that alone, it’s a special little western that every fan hungry for something different should watch at least once.