Last Take: Rust and the Story of Halyna Review – Cinematic Craft and Corporate Cost-Cutting

In the opening moments of Last Take: Rust and the Story of Halyna, we hear Halyna Hutchins’s voice calling, “That looks great,” just before the sun dips below the New Mexico horizon. It’s a haunting invitation into Rachel Mason’s deeply personal documentary, which stitches together Halyna’s final day on the Rust set with the wider story of how an indie Western shoot became the scene of a fatal accident.

Mason pays tribute to Hutchins’s vibrant creativity—her flair for wide, dynamic compositions and her passion for storytelling—while tracing the events of October 21, 2021, when a prop gun discharged live ammunition. Key figures step forward: Hutchins herself, viewed through personal footage; Alec Baldwin, whose role as actor and producer looms large; Joel Souza, the director who survived the same shot; and Mason, whose friendship with Halyna anchors the film’s heart.

This documentary weaves heartfelt remembrance with a careful examination of set safety, budget constraints, and industry norms. In this review, I’ll explore how Last Take balances homage and inquiry, using narrative shifts and technical craft to question how a low-budget shoot could cost a life—and what that says about independent filmmaking today.

Roots, Risks, and the Life Behind the Lens

Budgeted as a lean indie Western, Rust was conceived to recoup costs through home-video and streaming sales rather than a wide theatrical release. A 21-day shoot unfolded against New Mexico’s stark landscapes, with each sunset marking a hard deadline—something I’m reminded of from low-budget shoots I covered in my early days as a critic.

Alec Baldwin wore two hats as lead actor and producer, while a skeleton crew juggled multiple roles: the armorer doubled as prop master, and technicians swapped departments when schedules tightened. This do-more-with-less approach set the stage for both creative ingenuity and operational strain.

Originally from Ukraine, Hutchins trained at top European film schools and quickly made a name for herself in American indies. Colleagues speak of her warmth and tireless curiosity—traits I once saw in Claudia Cardinale interviews, where ambition and empathy coexisted. Mason peppers the film with Halyna’s voice-over reflections on framing a shot, alongside home videos of her hiking and playing music with friends. These personal archives humanize Hutchins, reminding viewers she was more than “the cinematographer who died on set”—she was a storyteller chasing beauty in every frame.

Traditional firearms safety relies on clear separation between action and viewing areas: actors fire on an empty field while directors and cameras watch from video village tents. On Rust, a last-minute crew walk-off left no monitors for Halyna and Souza, forcing them close to Baldwin during rehearsals. Crew members cited long hours, low pay, and mounting pressure as reasons to quit. Federal investigators later documented repeated lapses—unverified rounds, missing checklists, rushed setups—that reveal how financial shortcuts can compromise essential safeguards.

Weaving Memory and Inquiry

Rachel Mason doesn’t settle for a straightforward timeline. Instead, she borrows a Rashomon-style approach, inviting multiple voices to tell Halyna’s story. Interviews with cast and crew overlap with raw police footage and Hutchins’s own video diaries, creating a mosaic rather than a single-point narrative. This feels reminiscent of how Alejandro González Iñárritu broke apart chronology in 21 Grams, but Mason’s intent is less dizzying elegance and more empathetic layering—each perspective adding depth to our understanding of what really happened on set.

The film crescendos carefully: a serene New Mexico sunset, Halyna’s voice marveling at the landscape, then a jump to frantic 911 calls. These shifts mirror a heartbeat—slow draw in, sudden shock. Mason alternates between intimate memorial moments (home-video montages playing like family albums) and the stark procedural sequences of prosecutors and investigators.

As a viewer, I found myself leaning forward during testimony, then leaning back during personal reflections, much like I do in a Sam Mendes film when drama gives way to character study. The rhythm may feel uneven at times, but that unevenness captures the real shockwaves of grief and inquiry.

Mason’s archival set footage—cameras rolling, dust kicking up in the afternoon sun—grounds us in the reality of an indie shoot, where every frame counts against a ticking clock. When we cut to police body-cam recordings, the color palette shifts to cold blues and greys, underlining the documentary’s procedural gravity. Sound design underpins these contrasts: the whirr of camera motors, distant birdcalls, then the sudden echo of a gunshot.

A minimal score drifts in only at key emotional junctions, avoiding melodrama while still guiding our empathy. It’s a reminder that in independent filmmaking—and in this documentary—every choice, down to a single creaking floorboard, carries weight.

Crafting Emotion Through Craft

Mason assembles a diverse chorus of voices—from Halyna’s closest friends to the OSHA investigator—each adding a new layer to our understanding. She positions personal home videos alongside formal sit-down interviews, creating a dialogue between warmth and authority. I’m reminded of the way Ava DuVernay weaves personal testimony in 13th, using candid reflections to humanize complex issues.

Mason’s choice to include Joel Souza’s on-set recollections alongside Hutchins’s husband’s quiet moments of grief highlights both professional responsibility and personal loss. Her transitions feel intentional: a laugh from crew chatter dissolves into courtroom footage, underscoring how ordinary camaraderie can fracture under pressure.

Visually, Last Take tips its hat to Hutchins’s own aesthetic. Wide-angle shots of New Mexico’s sweeping vistas recall her signature compositions—bold foreground detail set against vast horizons. When Mason switches to documentary mode, the framing tightens: handheld camera work during interviews mirrors the urgency of an indie set hustling against a ticking clock.

The contrast between the dusty Western town and sterile police interiors reminds us how two worlds collide—one built on creative ambition, the other on procedural strictness. It’s a tension I first noticed in The Revenant, where the wilderness and manmade camp felt eerily at odds; here, that clash underscores the film’s insistence that environment shapes outcome.

Editors stitch together past and present with a deft sense of rhythm. A sequence showing Halyna adjusting focus on her camera cuts to prosecutors marking evidence, illustrating the fine line between art and accountability. Text-message montages—friends texting “Are you okay?”—appear as animated overlays, anchoring us in real time. These timeline graphics are sparing but effective, much like in Icarus, where they clarified complex events without dragging the pace. The result is a lean narrative that never loses sight of its emotional core.

Hutchins’s own voicebookends important sections—her offhand remarks about framing become poignant echoes after the tragedy. Ambient set sounds—the click of a camera, distant footsteps—linger under interviews, reminding us we’re never far from the shoot’s reality. A minimalist score swells only when necessary, rising in moments of revelation and receding during personal anecdotes. The balance feels like a well-mixed indie record, where every beat and silence counts equally.

Echoes of Trorrow and Industry Exposed

Watching Halyna’s friends speak through tears—her husband clutching a weathered script, a fellow cinematographer recalling her laugh—reminds me of the raw intimacy in Manchester by the Sea. These moments aren’t staged; they feel as spontaneous as family footage, and Halyna’s own voice drifting over home videos becomes a poignant refrain. Mason doesn’t just show us headlines; she lets us sit with silences between sobs, turning Halyna’s final frame into a living tribute.

Mason invites us to weigh individual responsibility—Alec Baldwin’s central role, David Halls’s admission of oversight, and Hannah Gutierrez-Reed’s lapses in procedure—but she also widens the lens. When an OSHA investigator points to missing safety logs and the producers’ cost-driven shortcuts, it feels like looking at a cracked foundation rather than a single broken beam. It’s a reminder that blaming one person can obscure a network of decisions that led to disaster.

I’ve covered indie sets where a two-week schedule and borrowed equipment breed creative magic—and dangerous shortcuts. On Rust, low pay forced crew members into multiple roles, and a walk-off left Halyna without a video village. Mason’s film captures that “penny-pinching” culture with gritty authenticity: long shadows at golden hour, frantic set calls, and clutching straps on overloaded camera rigs. It speaks to a broader issue in indie cinema, where passion often masks peril.

Scrolling through hot takes in the hours after the shooting felt like watching a wildfire online—blazing opinions with little substance. Last Take stands apart by pausing that roar, grounding us in documentation rather than retweets. News clips flicker by, but Mason punctuates them with courtroom transcripts and direct testimony, turning frenetic media noise into distilled facts. It’s an important correction in an era when virality so often trumps veracity.

Voices from the Set

Joel Souza brings a director’s eye to his own trauma, recalling how he and Halyna leaned in close to frame a shot without monitors—a choice he now views through the lens of survival. His voice wavers as he describes the moment he realized it wasn’t a prop bullet, grounding the film in firsthand accountability.

Devon Werkheiser and Frances Fisher offer contrasting angles: Werkheiser speaks with the casual candor of a young actor learning industry ropes, noting that tight schedules can feel like a badge of honor until safety snaps under pressure. Fisher, channeling her years on major sets, remembers her first encounter with the armorer and how an instinctive unease lingered long after the cameras rolled. Their perspectives illustrate how experience—whether fresh or seasoned—shapes one’s sense of on-set risk.

OSHA investigator Lorenzo Montoya steps in with measured authority. He lays out a pattern of procedural lapses—unlogged firearms checks, compressed shooting timelines—that mirror larger trends in low-budget productions. Montoya’s clinical descriptions contrast with the emotional weight carried by Souza, Werkheiser, and Fisher, yet together they form a coherent mosaic of credibility. Each voice carries its own register—personal grief, professional caution, expert analysis—reminding us that every truth on set is filtered through experience.

Ripples Beyond the Screen

Mason holds up a lens to indie filmmaking’s unspoken truths—reminding us that safety protocols can’t be collateral damage in the race to save a dollar. In conversations with union reps and on set safety boards, I can already envision Last Take becoming required viewing for new crew members, sparking real talk about risk assessment and shared responsibility.

By foregrounding Hutchins’s artistry—from her inventive angles to her natural rapport with actors—this documentary restores her name to cinematography’s evolving canon. As civil suits continue and Rust awaits distribution, her vision lives on both in legal archives and film festivals that honor her work.

On an emotional level, Mason’s film invites us to grieve alongside those who knew Halyna, to feel the weight of loss in every unspoken pause. Intellectually, it encourages us to question how blame is assigned and how media narratives can obscure systemic failures. Ultimately, Last Take isn’t just a chronicle of tragedy—it’s an urgent reminder that every production choice carries real consequences, and that audiences and professionals alike must advocate for environments where creativity and safety go hand in hand.

Full Credits

Director: Rachel Mason

Writers: Rachel Mason

Producers: Rachel Mason, Julee Metz, Kate Barry, Jon Bardin, Will Cohen, Jessica Grimshaw, Nick Shumaker, Jennifer Sears

Executive Producers: Dan Cogan, Liz Garbus, Tommy Coriale, Lizzie Fox, Casey Meurer, David Levine, Matthew Hutchins

Cast: Halyna Hutchins (archive footage), Rachel Mason, Joel Souza, Olesia Saveleva, Terese Davis, Thomas Gandy, Roman Gandy, Devon Werkheiser, Frances Fisher, Craig Mizrahi, Dave Halls, Jonas Huerta, Matthew Livingston, Josh Hopkins, Cherlyn Schaefer, Tim Benavides, Lorenzo Montoya, Lane Luper, Kari Morrissey, Olga Solovey

Directors of Photography: Halyna Hutchins, Craig Boydston, Oliver Lukacs, Michael Pessah, Olesia Saveleva, Serge Svetnoy, Corey Weintraub, Dennis Zanatta, Daniel Zollinger

Editors: Krystalline Armendariz, Stacy Goldate

Composer: Chanell Crichlow