I just—
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Raise your hand if you’ve been emotionally-victimized by Chloé Zhao‘s art.
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Once in a blue moon, I find a piece of art that changes my perspective, and I add it to my “checks-all-the-boxes” list.
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“Nomadland” builds, bruh.
It’s exceptionally personal, and human.
It brings your focus back to the foundations, and asks the question “what is a home?” Define a “community.”
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“Nomadland” is an intimate portrayal of a widow named Fern (Frances McDormand) who is navigating her grief after losing her job during the Great Recession and her husband. She lives in her van, and found a community in modern-day nomads who explore the beauties of nature in the western United States.
During the first act, there’s a campfire scene that provided a beautiful exhibition into the van-dwelling community. Members shared their journeys with a vulnerability that stopped me for a moment because the stories were so relatable. I connected to the feelings of wanting to break away from the stresses and mundanities of a city-driven, all-consuming life—finding comfort in removing myself from all it, and finding and connecting with nature as relief.
I wonder if Frances McDormand has an acting camp. Like one of those sleepaway joints.
I’d want to attend.
She’s just too good. It’s scary.
I was introduced to McDormand’s talent as a youngin’ when I saw “Mississippi Burning (1988).” She played the abused wife of deputy officer who was responsible for the deaths of three civil rights activists. Initially, I believed the film to be a documentary–the performances were that stellar. But Frances’ performance felt like a statement.
She was timid and reserved. She played the character so well that I imagined I could go to Mississippi in that moment, find her, and console her.
That’s acting—that I could get so caught up in the craft that I couldn’t recognize it as acting.
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It was beautiful to watch Fern unfold as the story did.
I nearly screamed “relatable👏🏾 content👏🏾” when Fern fled Dave’s (David Strathairn) hospital room after she visited and dropped off a care package. He attempted to connect with her and even invited her to a new van dweelling park, but she immediately built a wall to safeguard from emotional connection. And straight dipped. Fled the scene. Sis said, “feelings? I’m good.” Again, relatable…content. 😬😖 😎
David Strathairn was nearly unrecognizable. Such a delight to see him–another incredible actor who leaves it all to the medium. A true pro.
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Zhao and this natural light. Whew, chyyyy! I digs it. 👌🏾👌🏾👌🏾
It was stylistically beneficial to stick with natural light because the narrative is about bare minimum, resource-limited living. The tone of the film is the polar opposite of bombastic, bright, loud, colorful, artificial anything.
The wardrobe, the hue, the acting, the score, the cinematography—it was balanced, visually and narratively.
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What a moving picture. (literally and figuratively)
👌🏾 The pensive score acted as its own character.
👌🏾 Screenplay was 🔥 🔥 🔥. My new goal is find it and compare it to the novel.
👌🏾 The ensemble cast was brilliant, and provided what felt like an authentic glimpse into a modern-day nomad community.
👌🏾 The cinematography, coupled with the natural light, was gorgeous. 10s all around. 🙌🏽🔟🙌🏽🔟🙌🏽🔟
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The final ten minutes did me in, shawty.
I didn’t think the film would emotionally crescendo, but when Fern and Bob (Bob Wells) discussed the impact of his family’s recent tragedy on his confidence to continue on…bruh, an avalanche of tears flowing. Weeping. 🥺🥺🥺
Incredibly effective directing. I applaud it wholeheartedly. 👏🏾👏🏾👏🏾
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What an introduction to Chloe’s work for me. I’m definitely kicking myself for not circling back to “The Rider” (2017). Truly impressed by Zhao’s eye. She’s gonna be a P R O B L E M, bruh.
**hums “A House is Not A Home” by Dionne Warwick**