Powwow Highway
In Powwow Highway, identity politics are dealt with and played out/revealed through predominantly Cheyenne-related engagements on the road. The most interesting aspect of this particular film's relation to identity politics is that the two main characters are bound not only by their shared Native American religion and race, but also their social background. This is not to say that Buddy and Philbert share the same viewpoints concerning these constructs, but merely that there is a broad range of common ground for the pair to form rebellious political alliances that aim to deviate from traditional American party lines. For Buddy, overt references to identity politics are teased out through conflict. Throughout the film, Buddy rails against injustices imposed by the lingering remnants of European imperialism, and this reaches its culmination in the deliberately incoherent defense he makes against pursuing police cars--his violent transformation into a fully embellished Indian warrior signals not only a metaphorical escape from exploitation and prejudice, but also an awakening of Buddy's Cheyenne heritage that he previously seemed to embrace only hesitantly. For Philbert, an identity as (specifically) Cheyenne is thoroughly presented through the recurring visions he experiences, his overt reiteration of his tribe's importance, and his constant appreciation for nature and the deepest roots of his ancestry. Philbert is much less politically fervent when compared to Buddy, but the effect of his journey on the road is still that of awakening and transcendence. Indeed, the rusty, "unfair" confines of his vehicle are overcome--not only does the car continue to function without seemingly necessary maintenance, but the film is, in a way, allowed to end once the car is destroyed.