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But with Apple TV Plus’ much-anticipated historical crime drama Killers of the Flower Moon, director Martin Scorsese sets out to shine a harsh light on that horrific aspect of the US’s all-too-recent history and illustrate how it’s very much part of this country’s living legacy.

Based on journalist David Grann’s 2017 nonfiction book by the same name, Killers of the Flower Moon is a disturbing chronicle of how the Indigenous community living in Oklahoma’s Osage County was rocked by a two-decades-long string of brutal murders following the unexpected discovery of oil on their land at the turn of the 20th century.

But along with the Osage’s wealth comes a naked jealousy from white outsiders who see Indigenous people as undeserving simpletons, and Killers of the Flower Moon details how that very kind of thinking culminated in one of the most singularly unconscionable, nefarious murder campaigns in American history.

But Killers of the Flower Moon attempts to honor those lost lives through its focus on Mollie Kyle (Lily Gladstone), one of the many Osage who were encouraged to see white ranger William King Hale (Robert De Niro) as something of a local hero and to refer to him by his middle name as a sign of respect.

But as its focus turns toward Mollie — a taciturn yet loving Osage woman who feels a deep responsibility to look out for her sisters Minnie (Jillian Dion), Anna (Cara Jade Myers), and Rita (JaNae Collins) and their elderly mother Lizzie Q (Tantoo Cardinal) — the movie’s approach to humanizing its characters becomes far thornier in ways that are both admirable and deeply questionable by design.

Many details of Scorsese and co-writer Eric Roth’s screenplay are pulled directly from Grann’s book and work to highlight the larger system of economic disenfranchisement that was forced upon newly moneyed Osage through a corrupt guardianship program.

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