The Road to Patagonia Review: Two People, Four Horses, One Continent

To frame The Road to Patagonia as a simple travelogue is to fundamentally misread its intent. It is less a film about a physical trip and more a sprawling, deeply personal document of a man attempting to dismantle one life to construct another from its raw materials.

The central figure, Matty Hannon, sets out with a goal that is both romantic and absurdly ambitious: a surfing odyssey down the entire spine of the Americas, from the frozen coasts of Alaska to the windswept grasslands of Patagonia.

This premise, however, is merely the map for a much deeper exploration. The film’s real story is a deliberate unstitching of a conventional life, a conscious rejection of the fluorescent-lit hum of a desk job in favor of a new existence governed by tides, mountain passes, and sheer, unyielding willpower. Assembled from footage painstakingly collected over sixteen years, the film chronicles this rejection with an earnestness that feels almost spiritual.

It is a slow-motion rebellion against modern velocity, a search for some tangible value in a world that often prizes the abstract. What begins as one man’s quiet escape evolves into a far more complex and compelling examination of commitment, discovery, love, and the immense, daily challenges of living a life of radical intention.

The Camera as Confessor

The film’s profound power is rooted in its ruggedly intimate construction. Shot entirely by Hannon and, later, his partner Heather Hillier, the camera acts less as an objective observer and more as a third traveler, a confessional booth on wheels that captures moments with an unfiltered immediacy.

The visuals possess a luminous, almost sacred, golden-hued quality that washes the immense landscapes in a dreamlike filter. It evokes the feeling of a half-remembered memory or a 1970s counter-culture film resurrected from a dusty can, rich with the texture of lived experience.

This is not the polished, detached beauty of a typical nature program; it is raw, personal, and frequently shaky, placing you directly inside the tent or on the back of the sputtering motorcycle. Hannon’s own narration serves as the story’s central nervous system, a constant stream of sincere, searching philosophy that grants us direct access to his thought process.

We are privy to his fears and his evolving worldview in real time. This diary-like approach is amplified by Daniel Norgren’s folksy, soulful soundtrack, which provides the perfect bohemian cadence for the journey.

The music swells not just with grand vistas but with small moments of contemplation, creating a sonic landscape that is as crucial as the visual one. The result is a film that feels utterly handcrafted, carrying its imperfections as badges of honor and creating an immersive experience that is both epic in scope and deeply, uncomfortably personal.

An Adventure Built for Two

The film’s narrative begins with Hannon as a familiar archetype: the lone wanderer seeking authenticity. His motivations are born from a university background in ecology and a formative five-year period living with the Salakirrat clan in Indonesia, experiences that soured him on the hollow promises of the Western “rat race.”

Initially, his journey is a solitary trial of resourcefulness, marked by misadventures that test his resolve, from the palpable dread of being surrounded by wolves in his Alaskan tent to the bitter frustration of having his bike and all his belongings stolen in Canada.

One might initially view him with a certain skepticism—another privileged idealist with a camera. That perspective shifts irrevocably with the arrival of Heather Hillier, a woman practicing permaculture on a small organic farm in British Columbia, herself a picture of quiet rebellion.

Their connection is immediate and profound, and her eventual decision to sell her farm and join him in Baja California fundamentally alters the film’s gravitational center. The solo pilgrimage becomes a shared path, a story of two people against a very large world.

This transformation is crystallized in their absurdly romantic, wildly impractical decision to trade their reliable motorcycles for four untrained horses. It is a choice born of pure impulse, a moment of beautiful madness.

Their complete ineptitude as riders—and the horses’ own terror of the essential surfboards—provides a stretch of dryly humorous and harrowing footage that becomes the film’s central metaphor: a difficult, chaotic, and ultimately more meaningful way forward, taken one deliberate step at a time.

The Wisdom of the Dirt

Beyond the engrossing personal story, the film is animated by a profound, almost painful, reverence for the natural world. Hannon’s camera lingers on the staggering beauty and evident fragility of the continent’s ecosystems, from arid deserts to the threatened old-growth forests of Chile.

This visual awe is tied to a clear philosophical critique of consumer culture and a desperate search for a more sustainable human footprint. Yet, the film becomes most interesting where its ideas grow complicated. Hannon’s own narrated conclusions, for all their sincerity, can occasionally feel simplistic, reducing complex global dynamics to stark binary oppositions of East versus West or a pure nature versus a corrupt civilization.

The film finds its true intellectual footing not in Hannon’s personal diary entries, but in the chorus of voices they encounter along the dirt roads. The documentary’s political weight comes from its quiet observation of the Zapatista movement’s focus on sustainable rebellion in Mexico.

Even more powerfully, it derives strength from its documentation of the Mapuche people in Chile. Their ongoing struggle against neo-colonial logging operations and hydroelectric plants that desecrate their sacred lands provides a grounded, urgent context for Hannon’s more abstract wanderings. These moments rescue the film’s message, elevating it from one man’s philosophical quest to a vital record of grassroots resistance and resilience.

The Road to Patagonia premiered at the 2024 Byron Bay International Film Festival, won multiple audience and jury awards across Australia and the U.S., and began streaming on the Icon film channel from May 30, 2025, with UK cinema release on June 27, 2025.

Full Credits

Director: Matty Hannon

Writers: Matty Hannon, Michael Balson

Producers and Executive Producers: Matty Hannon, Tye Markey, Amanda Lavoie

Cast: Matty Hannon, Heather Hillier, Robert Baty, Ramon Navarro, Ale Matos, Greta Matos, Monserratt Mendez

Director of Photography (Cinematographers): Matty Hannon, Heather Hillier

Editors: Matty Hannon, Michael Balson, Harriet Clutterbuck

Composer: Daniel Norgren