In this world, there are people who are rescuers and those who need rescuing, and rarely do they stray from either of these natural inclinations. But, in an unexpectedly intriguing twist on this idea, first-time writer-director Kate Beecroft has served up a debut feature that showcases a colorful cast of characters who ultimately explore both sides of this question, and they do so in a setting that few of us ever get to see up close. This quasi-biographical tale tells the story of a passel of South Dakota cowgirls who struggle to learn the ropes of getting by in this fundamentally hard way of life, many of whom are portrayed here by cast members who have firsthand real-world experience at home on the range. Leading the way is rebel rancher Tabatha Zimiga, playing a fictionalized version of herself as a rescuer and reseller of wild horses, primarily to rodeo circuit clients. And, to help her tame these mavericks, she draws upon the breaking skills of another pool of ragtag rescues – local at-risk teens in need of developing a skill to help keep them out of trouble and broken homes. She seems to get considerable fulfillment from these undertakings, a real sense of purpose and profound satisfaction. But life on the edge of the Badlands is hard, a way of living that doesn’t pay off nearly as well as she would like considering the effort she puts into it. On top of that, Tabatha also wrestles with the unresolved grief of losing her husband, the challenges of raising a developmentally disabled young son (Stetson Neumann) and strained relations with a rebellious teen (played by Tabatha’s real-life daughter, Porshia). Given what she’s up against, it sounds like Tabatha could use some rescuing of her own, and that just might come to pass when a well-off prospective business partner from Texas, Roy Waters (Scoot McNairy), unexpectedly enters her life. Recognizing Tabatha’s talents with horses, Roy is eager to join forces with her, a venture that he sees as mutually beneficial, one that he believes could potentially change both of their destinies for the better. But at what cost? And is teaming up with this mystery man something this fiercely independent woman is willing to do? Fortunately, Tabatha has an array of confidantes to call upon, such as her no-nonsense, moonshine-swilling mother, Tracey (Jennifer Ehle), who freely shares her sage advice whether or not her daughter wants it, especially when it comes to making it plain that the one who’s in the best position to rescue Tabatha is herself. Through this release, the filmmaker takes viewers into a world they’re not likely to know much about, and she tells them an authentic story grounded in genuine emotion and heartfelt compassion, cleanly presented up in a tidy, economic fashion. However, despite these noteworthy attributes, the narrative could use some greater depth, substance and development at times, qualities that would go a long way toward enhancing an already-solid premise. Still, “East of Wall” has nevertheless made a mark for itself, earning two Independent Spirit Award nominations for best first feature and best breakthrough performance, notable accomplishments for a labor of love made on a shoestring budget, traits at the heart of independent cinema – and what tends to make it so satisfying.