Nomadland

Nomadland is difficult to evaluate from a film perspective as it encompasses everything you expect from a film yet it also goes against expectations of what a film ‘should be’, if a film ‘should be’ anything of course. The storyline follows the journey of a modern-day American Nomad woman named Fern, played by Frances Mcdormand. Mcdormand’s acting is of stellar quality and breathes the very essence of the film, we are made to feel as though we’ve already met Fern which ultimately throws away the need for a suspension of disbelief. The acting is so authentic and genuine the line between fiction and reality is almost completely absent. At times it feels like a documentary of the  lives of real people. To truly appreciate this seemingly subversion of cinematic guidelines, we must revisit the famous definition of film itself; ‘a different perspective of the world we live in’. Considering this, Zhaos accurate presentation of a whole society and culture is too be admired. Perhaps there is a suspension of disbelief as we are encouraged to forget who we are and focus on the nature of the lives played out on the silver screen, due to the ironically surreal realism. The film begins in snowy America and fern is looking for work, she eventually finds a job at Amazon from there she makes new friends and uses her van as her home. Travelling from place to place Fern encounters numerous people all who have suffered in more ways than one including her financially stable sister who misses their relationship, as the film progresses Fern meets the same people ‘down the road’ as she lives the life of a wanderer. One glaring criticism of this film is the unexplored opportunity too showcase this survival and suffering of the nomads in a more passionate and emotionally driven manner. the cinematography is beautiful, not a single shot is wasted as we are mesmerised by the stills of the american wilderness. In terms of pacing the film is quite slow however, the rhythm of the storyline is intrinsically linked to the wandering pace of the nomads. Nomadland is about the servitude of community and humility, while these themes may be heartwarming, the humble nature of the film is almost detrimental to its plot. It is unquestionably a part of the drama genre however there are few dramatic scenes to be found, apart from a few sombring deaths and tragic campfire tales. There is an absence of passion in Zhao’s direction as the characters, locations and plot seem to smudge into the same shade of grey. There are minor differences between characters however few seem to ‘act out’ or offer an opportunity to appreciate a dramatic performance, the main strength is the authenticity of performance in which Mcdormand demonstrates. Yet, even our protagonist sometimes slips into the ‘mundane’ during her cyclical journey. A film is allowed to have its own identity of course, individualism should be celebrated in cinema but an undramatic, dramatised, documentary-style film raises a few concerns. Undoubtedly a work of art with significant and complex messages, but as a source of entertainment and escapism this film falls short and wanders too far down the road. Perhaps the underlying cynicism that is bred in western society hinders our ability to enjoy a film in which people survive a similarly harsh environment, in a consistently wholesome manner. We possibly expect more darkness, vulnerability and obstacles when there simply doesn’t need to be.