Nomadland

Liked it a lot, without quite loving it.

Had been primed to expect some misery/poverty porn, but honestly don’t think it fits into that category. There’s a strong sense of defiance and even satisfaction from a lot of the people in the film. Sure they have tough moments and in many ways have been left behind by society, but there’s also a sense that they’ve chosen this nomadic life which is a strong counterpoint. It doesn’t wallow in misery, instead giving us an unsentimental look at the highs and lows of life on the road. The ‘it’s pro-Amazon!’ arguments strike me as unconvincing after watching the film - Zhao shows how these corporate jobs are a part of these characters’ lives, while also touching on the wreckage corporate America leaves in its wake. But I think a polemic is not the film she’s trying to make here; she’s much more concerned with the rhythms of these people’s everyday lives.

The American landscapes look great here obviously, but in a way that I think serves the point above. These are often frosty, desolate locations... but by the same token they’re also often beautiful and enticing. The cinematography doesn’t have the sheer lyricism of say a Terrence Malick film, but it does split the difference between that and documentary-style realism to frequently fetching effect. There’s a sequence of McDormand wandering through a house at the end which uses shadow and light alone to tell you everything you need to know about a big decision she’s about to make.

That said, there are moments when the style doesn’t quite gel together. I really admire the film giving the real life nomads so much space - indeed, the most impressive thing about McDormand’s performance is how she tones it all the way down to give them space while also hinting at her character’s own hopes, traumas and history. But there can be a hint of sterility to Zhao’s style at time, albeit one bit unique to this film: it’s something that crops up a bit in rural American dramas featuring non-actors. Still, it works overall, but sometimes in a way that left me at a remove of sorts. The film is quite tame and mild-mannered - sometimes to its benefit, sometimes to its detriment. It lacks the punch of Varda’s Vagabond - a great film that covers fairly similar ground.

Impressed on the whole, like I was with The Rider a few years back. There’s a few films I’d probably have liked to see sweep the awards season above or at least alongside this, mainly because I think Never Rarely Sometimes Always and First Cow were criminally overlooked. But certainly happy to see Zhao rise rapidly up the ranks: she’s made another confident, thoughtful film here and I hope against hope some of that can come through as she gets caught up in the MCU machine.