The Deserter in Disco Elysium talks about “[t]he mask of humanity fall[ing] from capital. It has to take it off to kill everyone—everything you love; all the hope and tenderness in the world. It has to take it off, just for one second. To do the deed.” The horror in KILLERS OF THE FLOWER MOON is how little the mask slips even as Osage people are murdered and brutalised. Black Wall Street and the KKK are backgrounded and instead the film is driven by the percussive bass beat of a more insidious form of racism: Hale (Robert De Niro) and Ernest (Leonardo DiCaprio) don’t hate the Osage—they learn their culture and their language—but they never view the Osage as people. Through their eyes, Osage are not capitalist subjects worthy of wealth but objects standing in the way of the money they view as their birthright as white men. Then in the film’s closing scenes, Scorsese turns the camera around to expose his own complicity and the film’s (predominately white) audience’s complicity in the ‘true crime’ exploitation of the Osage Nation even as he, too late, centres the experience of Mollie Burkhart (Lily Gladstone) before passing the frame to the Osage as a final gesture.