Meek's Cutoff is the latest ponderous, gorgeously shot film from the minimalist indie director Kelly Reichardt, whose two previous films—2006's Old Joy and 2008's Wendy & Lucy—were striking examples of her delicately academic approach to cinema and interest in exploring journeying characters in moments of despair (existential, personal, psychological).

It's doubtless a strange thing to routinely bear witness to an external version of yourself in the media—watching yourself on YouTube, seeing yourself on Access Hollywood or in tabloids. Throughout I'm Still Here we see Phoenix watching himself on his laptop—glued to the screen like Narcissus looking into the pond. But is what he sees a familiar self? Or is it something as foreign as Commodus or Johnny Cash? Or is it ultimately all the same?