Based on the novel by Daniel Woodrell, Winter’s Bone is a tense and bleak insight into the plight of a broken family and one girl’s dogged determination to protect their future.

Seventeen year old Ree (Jennifer Lawrence) is inescapably the head of the household, as her mother is crippled by depression and her two siblings are too young to fend for themselves. Ree is only just holding things together with help from their charitable neighbours. This all changes when the local sheriff (Garret Dillahunt) informs her that their absentee father has used the family home as leverage to secure bail. With the threat of eviction, Ree seeks out her father, moving from house to house in the hunt for clues of his whereabouts. Stonewalled in every direction, a code of silence blocks Ree’s attempts and so begins a chilling journey in search of the truth.

Director Debra Granik’s slow-burning thriller is set in the bare Ozark Woods in Missouri. The absence of music for the majority of the film mirrors the minimal and understated backdrop. There are no bells and whistles to this film which unfurls seemingly in real-time. This also serves well for the actors who have nothing to hide behind. Lawrence is present in almost every frame and her portrayal of a smart, strong and feisty young woman is captivating. John Hawkes offers terrific support as ‘Teardrop’, Ree’s uncle. His unpredictable behaviour and ever-changing moods makes for gripping viewing. Both performances have deservedly received Oscar nominations.

The absence of any positive male role models in this film is stark. The men are superior and set the rules for the women to follow which Ree ignores to her own detriment. The sympathetic army rep, towards the end of the film, demonstrates the only flicker of male humanity absent of any hidden agenda.

Ree is surrounded by drugs, drunks and general down-and-outs but still manages to remain unflinchingly strong and carries her own morals and beliefs. Early in the film we’re led to believe that Ree has aspirations to be in the army and have children of her own - both dreams are out of reach as the burden of looking after her family takes hold. However, it transpires that, rather than a burden, this is a life choice Ree accepts rather than regrets. Ree will do anything to keep her family together.

Winter’s Bone is a tale of survival, not necessarily triumph. This is reflected in the ending which does not seal the film in a neat bow, nor does it proffer the ‘happily ever after’ spiel which tends to undo all the points raised in a film. Granik’s second feature is a welcome breath of fresh air.