jats:pThis article examines representations of the road in the work of independent Florida-born film director Kelly Reichardt. Reading Reichardt's so-called Oregon trilogy,jats:italicOld Joy</jats:italic>(2006),jats:italicWendy and Lucy</jats:italic>(2008), andjats:italicMeek's Cutoff</jats:italic>(2010), alongside radical anti-freeway and anti-automobile movements from the Pacific Northwest, I argue that Reichardt's films offer critical engagements with the subject of the American road, interrogating the freedom and emancipation from social constraint it purportedly offers.</jats:p>