Nomadland (2020)

I’ve been doing a week rounding up some of my year’s favourite films that I haven’t yet posted on here, and I know it’s already the new year, but here’s one I saw just this past week that I forgot to post, so I’m doing it now, ahead of my full list of favourites.


By this point director/writer (and editor) Chloé Zhao has built up a pretty solid body of work dealing with the dispossessed in American society. Her previous two features (Songs My Brothers Taught Me and The Rider) have been sensitive stories of First Nations people, and while this one focuses far more on Frances McDormand, it has the same interest in marginal lives eked out in the kinds of spaces not often seen on the American screen, as she bounces between itinerant work in Idaho, South Dakota, Arizona, Nevada and other such places with vast horizons and empty space aplenty.

Everyone in the film goes by their own name, even our star (as seen on an ID card she uses in an early shot, though her character uses the nickname Fern), which suggests a strong documentary quality to this tale, and I would believe that everyone we see lives these very lives. There are sad stories and plenty of tears, but these aren’t placed within a framework of anger or misery (though it could easily be spun that way, given that most of the lives we see are largely due to inadequate social welfare protections, and even working for an Amazon warehouse is fairly soft-pedalled given a lot of the journalism that has been built up around that). Instead the film grounds itself in a shared feeling of hope that everyone forges together in these RV parks and desert encampments, that could look like cults but are just communities of like-minded people looking out for themselves. This could easily be the dystopian apocalyptic world of other films, but it’s a disarmingly generous and empathetic take on what such communities might feel like, set amongst people who have embraced their choices and have become determined to find something positive in what others might see as a massive failure of government and society. These lifestyles are hardly going away, but it’s heartening somehow to see people trying to make them work.

Nomadland film posterCREDITS
Director/Writer Chloé Zhao 趙婷 (based on the non-fiction book Nomadland: Surviving America in the Twenty-First Century by Jessica Bruder); Cinematographer Joshua James Richards; Starring Frances McDormand, David Strathairn; Length 108 minutes.
Seen at Penthouse, Wellington, Saturday 26 December 2020.

Fast Color (2018)

Catching up on my films-on-Netflix theme, we come to this striking outing from Julia Hart, a sort of supernatural superhero film albeit one very much grounded in a recognisable world.


This is a film that builds slowly, but it has a sense of atmosphere and mystery that I found beguiling and which really drew me into this story, reminiscent somewhat of NK Jemisin or Octavia Butler in putting across this recognisable future world of hardship and environmental breakdown without belabouring the dystopian qualities in a simple way or building societal collapse into some art-designed fascist nightmare. Gugu Mbatha-Raw plays Ruth, a confused young woman just trying to piece things together as she travels across these wide, barren landscapes, and the film follows her and reveals things to us as she discovers them. It’s clearly not had a huge budget (like a number of other recent future dystopia films) but it uses its effects in a sparing and expressionist manner, and draws out the drama happening amongst primarily three characters.

Fast Color film posterCREDITS
Director Julia Hart; Writers Hart and Jordan Horowitz; Cinematographer Michael Fimognari; Starring Gugu Mbatha-Raw, Saniyya Sidney, Lorraine Toussaint, Christopher Denham, David Strathairn; Length 102 minutes.
Seen at home (Netflix streaming), London, Friday 13 December 2019.

Lincoln (2012)

I was talking in my last post about how Argo fits into one manifestation of the ‘Oscar-baiting film’ subgenre. Well Lincoln is an example of the other type of Oscar film: the big, portentous, historical epic. As far as such films go, however, this is a good example, both of the form’s strengths — top-notch character acting from the supporting cast, a firm grasp of the period, and a fine performance by Daniel Day Lewis (who has previous with this kind of project and is always dependable) — as well as its weaknesses. However, aside from that general sense of being shown something ‘important’, the main weakness for me was the big, clanging John Williams score that underlines every significant decision and emotion.

For the most part we are given a well-focused story of Lincoln’s struggle to have the 13th Amendment to the US constitution passed (regarding the abolition of slavery). There’s plenty of detail about the political machinations and processes that went into this, culminating in a lengthy sequence whereby members of the Congress individually vote on whether to pass the amendment. For all that minute focus, it remains gripping over its 150 minutes, though I found distracting the scenes featuring Lincoln’s family (Sally Field as his wife, Joseph Gordon-Levitt as his son). It also avoids hagiography for the most part, though a scene near the end when Lincoln leaves his home while being watched admiringly by a black servant is probably taking it a little far.

This film will no doubt enjoy a long afterlife as an educational film in history classes, but for all that, it’s still an enjoyable film, worth sitting down with.


CREDITS
Director Steven Spielberg; Writer Tony Kushner; Cinematographer Janusz Kaminski; Starring Daniel Day-Lewis, Tommy Lee Jones, David Strathairn, Sally Field; Length 150 minutes.
Seen at Cineworld Haymarket, London, Monday 11 February 2013.