Another one of those indie gems in the rough, which follows an Indian America, ex con, just out of the joint,, doing a lengthy stint, trying to reconnect with family, which falls on deaf ears, where he sorely finds, the harsh outcome, living on the streets. What's so great about Mekko, is the phenomenally real acting, which at times, you forget they are. One actor who unjustly escaped an accolade, was the bearded guy, playing Mecco's old friend. He was the one that stood out. All the actors are great in this film, and we truly feel the desolation, bitterness, and loneliness of our character character, as well as regret. The guy playing the psycho is a masterpiece body of acting, truly haunting, but there are truly haunting moments of Mecco itself, which contains a couple of bloody scenes, one near it's end, you'll never see coming, as in it's intentions. But I always knew Mekko was gonna kill somebody by the end of the film, Great Indie film making, with a faint edgy aura, through it, but more so, remembered for it's real and great acting, budding thespians like me, can't afford to miss.

An ancient story comes to life in a modern city. Mekko, a native Muscogee, gives people dignity, sees things before they happen and uses what power he possesses to help others. However, he was just released from prison and lives in Tulsa with other chiefs of the street. This is where Mekko encounters Bill who takes advantage of others and claims to be helping them, twists words around, and manipulates people for his own good. Mekko is reminded of a story from his grandmother about spirits, estekini, that change shape and prey upon the weak and unwary. Bill senses Mekko's growing power and influence and attacks him. An amiable waitress helps Mekko recover. Because sickness must be dealt with before light can be brought back to a community and new spirit or strength can be found, Mekko moves to confront Bill. In order to do this he must keep the fire burning in his own heart.I loved the themes of the film including the interrelation between what is visible and what is shadow. I am intrigued by native culture and treasured the story, characters and independent nature of the film. One of the drawbacks is, as the director put it, there was "no luxury of time." In other words, he was on a limited budget and couldn't afford to develop the themes, characters and proper ornaments as should have been available to such a gifted artist. The director, also Native American, is familiar with Tulsa and watched the street chiefs there in order to develop the film. Seen at the Toronto International Film Festival 2015.