(2020) Drama (Searchlight) Frances McDormand, David Strathairn, Linda May, Swankie, Bob Wells, Angela Reyes, Carl R. Hughes, Douglas G. Soul, Ryan Aquino, Bryce Bedsworth, Annette Webb, Teresa Buchanan, Karie Lynn McDermott Wilder, Gay DeForest, Patricia Grier, Makenzie Etcheverry, Rachel Bannon, Brandy Wilber, Suanne Carlson, Roxanne Bay, Sherita Deni Coker. Directed by Chloé Zhao
Many people look at the Okies of the Depression, entire families who put all their belongings in their trucks and tried to find somewhere they could work and believe that those folk were a symptom of their times. What most Americans don’t know is that the economic realities of the 21st century have led to an entire new generation of rootless migrant workers, going from one seasonal job to the next, living out of their vans or in camps.
Fern (McDormand) has been hit by two catastrophes. First and foremost, her beloved husband Bo has died. To make matters worse, the gypsum mine in Empire, Nevada, where they were both employed, has shut down. Empire, being a company town, now has no work and has itself shut down. Fern has been thrown out of her company housing where she has lived for decades. She decides to gather what belongings she can fit and put them in a van where she makes herself as comfortable as possible, getting a temporary job at the Amazon Fulfillment Center for the Christmas rush. She is given free parking in a trailer park, paid for by Amazon. When the job goes away, so will the space.
She befriends a woman named Linda May (May) who urges her to attend a convocation of nomads in Arizona, to be presided over by nomad guru Bob Wells (Wells) who has garnered an impressive following with his pragmatic and imaginative videos of how to survive living out of a van. She tells the child of a close friend in Empire who asks her if she’s homeless, “Oh no, honey, I’m not homeless…I’m houseless!”
She is loathe to head out to Arizona but when finding more work proves fruitless, she changes her mid and drives down there. There she meets Dave (Strathairn), an old man who becomes sweet on her, and Swankie (Swankie), a veteran nomad who is dying of cancer and wants to see as many natural wonders as she can while she still can. Her impending fate doesn’t prevent her from remonstrating with Fern that she needs to be more pragmatic because they are in the middle of nowhere and there is nobody to help them if their van breaks down “You can die out here!”
Fern remains something of an enigma throughout the movie until near the end where we start to get the picture as to why she makes the choices that she does. McDormand, one of the most gifted actresses in the business with Oscars for Fargo and Three Billboards Outside Ebbing, Missouri and three other nominations. This film will undoubtedly give her a fourth, as she has already won this year’s Golden Globe for the role (the movie also won the Best Motion Picture, Drama Golden Globe at the recent awards ceremony). While Fern isn’t the most talkative person ever, her eyes are often haunted, staring out in the distance, her thoughts kept to herself but her eyes betraying her melancholy. She works hard and makes due without complaining, taking what joys she can where she can – like going skinny dipping by herself in a rock-strewn river in Colorado.
The one false note that the film strikes is the relationship between Fern and Dave. There is a sweetness to Dave, but Fern isn’t having it and that would be fine, except it feels like the relationship seems to be added on just to add romantic tension. The movie doesn’t need it.
Zhao utilizes the magnificent vistas of the prairies, the Rockies and the desert Southwest, taking Fern to a variety of jobs, from working the lunch counter at Wall Drug in South Dakota (a place to which I’ve actually been and it is so much more impressive than the film shows), a beet harvester in Nebraska, and a trailer park hostess in Arizona. She finds quiet moments of peace amongst concrete dinosaurs or under the stars. And despite Dave’s sweet advances, she seems content to remain on her own.
This is a slice of life that most Americans have no idea even exists, but the movie is based on a non-fiction book by journalist Jessica Bruder. While Zhao tends to leave details out of her film, there’s no doubt that this is a perilous way of life, especially now with so may more out of work than when the movie was filmed, let alone when it takes place (approximately 2011). People who have worked hard all their lives and couldn’t quite get ahead find themselves unable to afford a place to live in, forcing the to live from gig to gig. And what happens to them when they are no longer able to drive? It isn’t a question the movie asks but it was definitely on my mind, given that most of the characters in the film or either middle aged or elderly.
There is a lyricism here, a dignity that is all the more apparent because many of the actors in the film are non-professionals; they are actual nomads who live in their own fans. They, too, live with the specter that jobs aren’t guaranteed and that despite their willingness to work, they may get somewhere, find that the job they expected was already gone, and not be able to afford the gas to get them somewhere else. Most of these people have no health care insurance, so when people like Swankie get seriously ill, their only choice is to let nature take its course.
It seems impossible to believe that Americans can live like this in the 21st century; our nation is wealthy and prosperous, or so we’re told, but that’s only if you own the business. For those who toil in those businesses and make money for the 1%, their future may not be all too different than the one Fern faces.
REASONS TO SEE: McDormand gives another in a long line of outstanding performances. Gritty and realistic examination of American economic realities. Rings true as a human story. Honest in every way.
REASONS TO AVOID: The romance between Fern and Dave seemed forced.
FAMILY VALUES: There is some full-frontal nudity
TRIVIAL PURSUIT: Zhan interviewed several real life nomads to get some informational background for the film; some of the more articulate interviewees were given roles playing fictional versions of themselves in the film.
BEYOND THE THEATERS: Hulu
CRITICAL MASS: As of 3/1/2021: Rotten Tomatoes: 94% positive reviews; Metacritic: 93/100.
COMPARISON SHOPPING: The Leisure Seeker
FINAL RATING: 9/10
NEXT: Days of the Bagnold Summer