Just think step away. Just bring the basics, no binding belts. Where I put my head home, kind of, as James Hetfield sings. cliche. But the myth of American freedom is also a viable force – and in and of itself is not American at all, it is only Americans who kidnapped it and incorporated it into their chariot worship. In Nomadland, the myth does not sparkle as alluring, with the caravan being the last resort for the poor. Need rarely turns into a dream of freedom.
Like most The road movies portray Nomadland as a journey towards the middle world, that is, itself. Here, too, mixed with a lighter social criticism, which is not in the text but in the state it paints. The box is a nation that offers thin safety nets with big holes, and it’s a community group that eats people and then spits them out as they get old and fragile. One of them is Vern, a widow who buys a caravan, does odd jobs, wanders around the country, getting to know like-minded people in the same situation. They are the solitaire who still draws strength from each other. Sometimes they meet at the camp of Bob Wells, a Vietnam veteran whose life job is to help people escape the “tyranny of the dollar”.
director Screenwriter Chloe Chow, who is herself a Chinese immigrant, has shot in all three of her feature films to date the United States in the margins, from an outside perspective. However, her first two works flew off the media radar, which Nomadland would likely have done had it not been for the fact that the acclaimed independent queen Frances McDormand plays the main role. Praise, awards, and Oscar nominations are now welcomed. There were six pieces and many believed Nomadland would win both directing and best film. Which would still be cool, it’s often not a tight film like this one that wins a Best Oscar.
It’s possible that Frances McDormand would have taken a statue of herself, too.
Bob Wells He doesn’t win any awards, because he’s already there and plays himself, like 90 percent of the participants in front of the camera, which makes Nomadland feel like a documentary with some fictional elements. And when they’re so few, and in such a worn, everyday context, they stand out as beacons: Amateurs, Amateurs, Amateurs, Oh: David Strathern! Well, even a relatively little-known actor like the latter makes the illusion a bit messy, just for a second, but still.
Guys Chloe Zeus The calm narration (and the suggestive image of Joshua James Richard!) Takes us by the hand again and lets us follow Verne on her sad journey. It’s steaming bison, broad prairie, great redwoods – the mythical backlit soil of America. Along with the film’s basic human tone, it becomes an appreciation of the original, of values other than those measured in dollars and cents. It may sound a little cliché, but it performs so well and discreetly that it becomes graphic poetry and hard realism at the same time.