If Cemetery Without Crosses feels subtly but unmistakably different than other westerns, that's because it is: It's the lone French western to emerge from the genre's European (though mostly Italian) overhaul in the mid '60s. This geographical and cultural novelty adds another layer of pretext to the film.
[Hossein] adopts a precise, ascetic style reminiscent of Jean-Pierre Melville, marked by long periods without dialogue and an intense focus on essential images. In this filmic space, every pronounced camera movement, musical cue and look exchanged by the characters heightens the melodrama. The result is a compellingly pure take on the western, true to the tradition of French popular cinema.