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In the newly nominated movie “Nomadland” directed by Chloé Zhao, Fern, (Frances McDormand) mourns a life that had been stripped away in an unimaginable way. She seems like she was somewhat content with her life in Empire, Nevada, a small town in America that had been developed around the gypsum plant industry. Empire town quite literally closed when the gypsum plant there closed, and within six months, all of its zip codes were deleted. Unfortunately, Fern’s husband passed in the middle of all of this – which left her all alone. She prefers the term ‘houseless’, as opposed to ‘homeless’, which says a great deal about her state of mind. She starts to live in her van and look for seasonal work at an amazon center. In the process, she joins a group of modern nomads. Though modern nomads sometimes form makeshift communities, she eventually finds herself roaming the landscapes of America alone once more. She is the unforgettable center of Chloé Zhao’s masterful work. The film captures the beauty of the continent in a dreamlike manner but also brings focus to the people that are unseen in the movie industry – and for that, I love it.
In general, filmmakers and artists are quick to define the characters they depict. Here’s the protagonist; here’s the antagonist. And here’s the set problem that must be fixed in order for the protagonist to ride off into the sunset at the end of the film or suffer for their immoral actions. There is a much gentler version of the true story about “Nomadland”, which is derived from the book by Jessica Bruder, that does all of this by melodramatizing Fern’s character as a redemption seeker. Zhao, like Fern, does not think that she is ever in need of saving, and Zhao does not manipulate her feelings in order to elicit pity from us, while simultaneously not underestimating the solitude and depression that often accompanies her condition. The end result is a film that earns its tears – they come from honest, genuine sympathy more than anything else.
Surely it is unimaginable for a lesser actress than Frances McDormand who carries every single scene. We witness this world through McDormand’s lens, which is arguably performed in the most careful and graceful manner of her career. Fern is such a richly complicated person, capable of achieving a level of restlessness that feels self destructive, but who is also breathtakingly warm and receptive towards her people. She makes friends wherever she goes, for instance with the women she attends an RV show with, or the young man whose cigarette she helps light. McDormand accomplishes so much with a glance or a sardonic smile that would take other actors an entire monologue to get across. In this performance we see a whole life. Every choice has history behind it. It is a masterclass of career performances by one of the best actresses. It is wonderful.
Zhao’s technical craft is equally as impressive and there is a lot she is doing in parallel with McDormand’s work in ‘Nomadland.’ She collaborates once again with Joshua James Richards, the cinematographer for ‘The Rider,’ and the two manage once more to capture the country’s landscape in all its beauty. Zhao and Richards, while zooming out on the landscape, capture Fern’s phrases as she switches from one coast to the other, which are masterfully shot during the magic hour. It is indeed a masterpiece of a film that is easy to relish enjoying, and it is not only in the “beauty shots.” The “Nomadland” beauty is beyond words and encapsulated in high definition. The visual narrative is impeccable, during which Zhao and Richards blend their camera with Fern while she is surrounded by van-dwellers. The feeling is mystical and makes the moment authoritative and realistic. It is astounding how Zhao has achieved making a film that is this beautiful in its constructions while it still feels as if there is dirt beneath its fingernails. The magic of it all is enhanced my Ludovico Einaudi’s moving score, which unmistakably is my favorite of the year.
The majority of people that Fern encounters along the way in “Nomandland” are not professionally trained actors, but rather real life van dwellers. Besides Strathairn, who plays a role as a Fern’s companion, the film features no actors. There is an improvisatory feel to and naturalistic tone in Fern’s conversations and interactions that helps balance the film. These modern nomads share their struggles with fulfilling the desire of traveling the country while not wanting to die with those dreams unfulfilled. They trade traveling survival tips and help one another in ways traditional neighborhood dwellers seldom do. “Nomadland” transforms from just a dramatized depiction of a fascinating woman to a work reminding us how many people are out there with unresolved dreams they so desperately want to share. And it doesn’t dwell in any kind of sorrow.
Unquestionably, grief can manifest in profound ways and be felt at all times. McDormand’s reaction upon hearing other people’s stories about their departed loved ones is a good example. Perhaps, she is considering her spouse. The same could be said about the portrayal of “Nomadland”, which can be interpreted as a woman trying to elude grief while being disillusioned by a world that has erased everything she knew. That grim section is partially accurate. However, so many Americans are currently frantically lost. They don’t know which direction to take next or what the future holds. Images from “Nomadland” that are worrying and seem to be answering the restlessness and anxiety for 2020 are overly charged with beauty that radiates joy for not so great things a friend smiling, swimming in a river, an adult being nice to a kid. While not all of us are directly concerned about the plight of Fern, that jitters, feeling of uncertainty is universal. Perhaps we should just go drive.
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