In scope, ambition, and execution, Nomadlandsurpasses Zhao’s breakthrough movie, The Rider, which was also a neo-western.
McDormand communicates a whole lot of sadness and pain with mere expressions, and no dialogue. Indeed, Fern is a woman of few words, finding a recurring presence along the way in Dave (David Strathairn, one of the few recognizable faces beyond hers).
The colorful, eccentric personalities that she meets, each of whom has a story to tell.
Fern’s van basically becomes another character, to the extent that it’s a not-terribly-reliable companion on this journey of personal discovery, which doubles as a tour of America’s great open spaces.
Zhao’s movie is defined by its texture and tone, not by its plot. She offers, without a judgment, a window into a way of life that is both foreign and unfamiliar to most viewers, American and others.
It’s a meticulously crafted movie in every department, anchored by a star at the top of her game.
Nomadland, rated R, premieres February 19 in select theaters and on Hulu, where it should pick up its widest exposure.





