Nomadland

There's been a lot of interest (I was going to say 'buzz', but that doesn't really scan) around this film, directed by Chloe Zhao - one of the pod contributors even gave it top spot in his best of 2020. I have to say though, I was fairly unimpressed by it. Clearly it has found an audience, it's hoovering up during this awards season as I write, and winning rave reviews along the way (94% on Rotten Tomatoes, 93% on Metacritic). And I have to say, I can see what the fuss is all about. It's just that it didn't hit any sweet spots for me, nothing came off the middle of the bat, if you like. This might be complete bollocks but the aim for near total authenticity actually made me feel I was watching something simulated, and my acceptance of the film suffered accordingly. Also, the plight of these people, rough as it was (and likely still is), didn't resonate with me; it was either too far removed or I'm just a heartless prick.

The story, such as it can be called a 'story', follows Fern (Frances McDormand) through the US in her beloved campervan, scratching a living from seasonal work. The Global Financial Crisis caused the gypsum mine in her town to close down and, after the death of her husband, she decides to go on the road. She meets up with various itinerant 'nomads', many of whom are non-actors, actual travellers, with a sprinkling of 'traditional' actors like David Strathairn, who plays a potential romantic interest called Dave. The pace is very meandering, filled with lovely pink and orange sunrises and sunsets and vast American landscapes. 

The guts of Nomadland is Fern's reluctance to conform, to settle into a 'normal' lifestyle, and to be fair, we don't see the kind of sub-culture she embraces in US films too often. The scenes with her sister are amongst the best, probably because there's a touch of confrontation and awkwardness to them. The chance to stay with another family is offered as well, but Fern is drawn to the road. There's a semi-resolution near the end (good place for it) where she has a conversation with the 'oracle' of the nomad life, Bob Wells (real-life vandweller and founder of Rubber Tramp Rendezvous). He suggests that she could try saving her memories until her after-life and concentrate on living in the present (or something like that). And like I said before, I can see the worth of this message and the film in general. I just found myself drifting, much like Fern herself in her van. Maybe that's the trick of the film, I was immersed in the malaise.

One more thing - and possibly Americans can help here - what the fuck is Wall Drug?! Is this a company, a restaurant, even a town? And in any case, where did this name come from? Odd.

See also: 

John Ford's The Grapes of Wrath (1940) and Walter Salles' The Motorcycle Diaries (2004) contain obvious similarities to the film above.