Tuesday, December 7, 2010 at 04:56PM 
If you would like to add Barking Water to your DVD library, or would like to give the film as a gift, you can now purchase it at Amazon.com. Just follow this link to purchase your copy: http://tinyurl.com/277zzwn.
Wednesday, May 12, 2010 at 02:14PM We’re excited to share with you The New York Times review of BARKING WATER! Read the full article at http://nyti.ms/9ul8ib
The Oklahoma flatlands enhance the film’s cosmic perspective, as do the silences in a screenplay whose rhythms and dialogue often feel self-consciously stagy. During those silences the camera studies Frankie’s and Irene’s handsome, haggard faces, which convey, more than words, the dignity of two people who have lived intensely and carry many regrets. Frankie’s deep, rumbling voice, even when weakened, lends his remarks a weighty finality.
Friday, April 9, 2010 at 05:43PM We're excited to announce that BARKING WATER will be shown at the Museum of Modern Art (MoMA), in NYC, from May 12-17, 2010. Hope to see you there! More information can be found here.
Wednesday, March 31, 2010 at 03:45PM We are actively accepting other suggestions for other venues to screen. These can be movie theaters, community centers, university theaters, classrooms with video projectors, barns, and other assorted locations. We hope you'll suggest a screening venue, and we’ll see what we can do.
http://cinemapurgatorio.com/suggest-a-show
Monday, November 9, 2009 at 05:52PM
Sunday, November 8, 2009 at 05:51PM
Friday, October 30, 2009 at 05:51PM
"Barking Water" is, by definition, a road movie. But this journey is far different from the genre's norm of encountering oddball characters and/or harrowing situations. Rather, "Barking Water" is the story of a journey home that, minutes into the movie, you realize is the final trip for Frankie (Richard Ray Whitman), a Native man who is first seen leaving a hospital, refusing to take the offered wheelchair, and speeding off in a battered station wagon. Picking him up and doing the driving for most of the trip is Irene (Casey Camp-Horinek), a woman who might be Frankie's wife. But as writer/director Sterlin Harjo spins out his touching tale, we learn that they're not married and have had a troubled but close relationship. Irene, however, is doing one last favor for the man who, in the end, left her too many times. The journey across Oklahoma is aimed at getting Frankie to the small town where his daughter and grandchild live. He wants to make amends with them before he dies. Along the way, Frankie and Irene meet up with friends, relatives and strangers, including a guy named Elvis who gives Frankie some pot to help with his nausea. We also see flashbacks to Frankie and Irene decades earlier, putting their lives and the journey, in context. That's about all that needs to be said about what happens in "Barking Water." The movie is really not so much about plot but the characters, their feelings and their attachment to their families and culture. Whitman, a veteran actor and acclaimed artist, and Camp-Horinek each give note-perfect performances and feel like an old couple who have been together (sort of) for decades, blending affection and tension in the most believable fashion. That acting carries the film and gives it great heart, allowing the little incidents that take place along the way to resonate with emotional power. In just his second film, Harjo shows the skill of a veteran, crafting an evocative story that fits with its setting. Glimpses of oil refineries, ramshackle houses and people playing board games tell much about the land and Native culture. "Barking Water" is a quiet little film, the kind of picture that gets overlooked in the hype-fueled, box-office-driven movie world. But it is more rewarding and far more real that anything you're likely to see in the multiplex this weekend.
REVIEW: BARKING WATER
By L. KENT WOLGAMOTT of the Lincoln Journal Star
Posted: Thursday, October 29, 2009
Thursday, October 29, 2009 at 05:49PM
Roya RastegarFILM REVIEW: BARKING WATER
By Roya Rastegar (10/28/09)
Irene and Frankie have been on-again, off-again lovers for more than 40 years. Although they mean everything to each other, he keeps leaving her, and she keeps not forgiving him. Now Frankie is dying, and Irene, like so many times before, is going to help him just this once. Together, they break Frankie out of the hospital and set off on a road trip home so that he can make amends and see his daughter and new grandbaby. Spurred by such road-trip dramas as what music gets played and how loud, their winding route drives a profound reflection on their fractured relationship. Writer/director Sterlin Harjo’s sage second feature establishes him as a mainstay in American cinema for articulating the multiplicity and subtleties of Native experiences. Resisting any temptation to neatly absolve Frankie of his mistakes because of his terminal illness or surrender Irene to a sentimentally motivated forgiveness, Harjo allows ambiguity and irresolvable emotion to travel across the screen and reveal honest, complex characters and deep-seated wants. An inherent affection for his home state Oklahoma’s landscape and its people is palpable in this tender, poignant film.
Tuesday, August 11, 2009 at 05:49PM
BARKING WATER IN VENICE
By Michael Smith
Tulsa filmmaker Sterlin Harjo’s “Barking Water” has been selected for screening at Venice Days, a sidebar event that highlights new directors opposite the larger Venice Film Festival.
The 66th annual festival in Italy kicks off Sept. 2 with 81 film world premieres, including Steven Soderbergh’s “The Informant!” starring Matt Damon and Michael Moore’s documentary “Capitalism: A Love Story.”
Meanwhile, the Venice Days event includes 15 films with a decidedly European flavor. Harjo’s movie is the only film from the United States selected for Venice Days.
“Barking Water” is Harjo’s second feature film, and it premiered at Sundance Film Festival in January. His soulful road movie – a three-star review from the Tulsa World – involving an estranged, older couple with a stormy history played for three weeks at Circle Cinema in May and June.
The low-budget independent film, also written by Harjo and produced by Chad Burris and his local Indion Productions, was shot in less than three weeks in Ponca City, White Eagle, Pawhuska and Holdenville.
Michael Smith