In turn, this lifestyle provides Nomadland a loose narrative structure, one that spiritually captures a life lived outside of a world ruled by “the tyranny of the dollar,” as Bob Wells intones at one point. Characters are constantly on the move, chasing the warm weather, or seeking part-time work to supplement their income, but this mobility is dictated by the patterns and natural trajectories of the season. Zhao either repeats sequences (scenes of Fern walking) or literally reuses the same shots (a shot of a cactus near the RTR hang-out) to instill both the passage of time and the timelessness of nomadic life. It’s great.Īnother Spin Around the Sun: There is a cyclical element to the film in how repetition is used. So, when she eventually decides to leave, her relief is subtly communicated in the smallest movement - for instance, Fern gentling pushing in a chair at an empty dining room table. In addition to Nomadland, Zhao has only directed three other feature-length films, including Marvel Studios’ star-studded MCU film Eternals.Besides Hamnet, she’s also currently developing a. Cinematographer Joshua James Richards highlights Fern’s feelings of oppression and confinement in the way he shoots the interior of the house. This idea is continuous.Īt one point, Fern visits her potential paramour Dave ( David Strathairn) at his son’s country farmhouse. Not only is the environment boxy and artificial, the mise-en-scene confirms that Fern herself is not at home. Throughout the film, there are few scenes that take place within cities or commercial spaces that feel jarring and uncomfortable.
The appreciation for the American Midwest is built into the narrative, which regularly contrasts the tight quarters of Fern’s van with the wild, open spaces where she parks.
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