When the World War I veteran Ernest Burkhart (played by Leonardo DiCaprio) gets off the train in Osage County, Oklahoma, he is walking into the turn-of-the-century boomtown of Fairfax, a bustling throng of activity that has sprung up out of nowhere following the discovery of oil. Wandering salesmen press leaflets into his hand and promise he can get rich quick; luxurious automobiles buzz around, the atmosphere pulsing with a feeling of runaway success. But as Burkhart is driven by an Osage man named Henry out to the countryside through fields of pumping derricks, he asks whose land he’s on. “My land,” Henry says gruffly. As it thrusts the viewer into this epic tableau, a world of sudden and overwhelming wealth at the start of the 20th century, Martin Scorsese’s Killers of the Flower Moon is suffused with the dreadful sense of storm clouds gathering on every horizon. Adapted from David Grann’s best-selling book, the film explores the history of the Osage Nation as it reaped the rewards of oil residing underneath its land and immediately …

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