《Nomadland》 - Crossing the boundary between fact and fiction, the painting is desolate and gentle

I prefer to use my own life experience to connect with the film. Later, I find that the road they are running towards is not a road of escape, but a lighthouse for the pain that everyone may suffer in the future.

The story began in the winter of 2011, when gypsum companies in the United States closed their 88 year factory in anmper, Nevada, as demand for gypsum boards decreased.
The operation of the onpier post code 89405 was then stopped, which means the town would be closed as well. This situation has left hundreds of local workers homeless and, in order to survive, they run across the country to build temporary communities in mobile populations and spaces.
The film is adapted from Jessica Bruder's documentary literature, the land of no dependence: the United States in the 21st century, which records the elderly Americans living in travel cars and van, who, like migrant workers of the past few generations, have moved with the seasonal call of temporary work.

All the actors in Zhao Ting's previous works "the song my brother taught me to sing" and "the knight" are local people. There are still many faces in this film that are not professional actors.
Therefore, Zhao Ting's camera not only describes the real nomads in the book, but also meets the drifters in the process of shooting. Let's make this film more like a free dialogue and sequel with Bruder's works, rather than a simple application and remake.

At the beginning of nowhere, fern takes his belongings out of the locker and shoves his soul and daily necessities into the car. Holding his late husband's work clothes, fern can't control his sadness.

It was an oriental farewell ceremony, and she would drive through a cold, wasteland in Nevada, with a van, to a large warehouse in Amazon. The temporary job will support her and other temporary workers through months of winter.
The film mentions trying to get rid of the "shackles of the tyranny of the dollar," but it is difficult to follow up on this. Many of them are retired, but they do not have the will to retire and still choose to eat their own.
Fern is the embodiment of duality. She is the victim of economic crisis, but she refuses to show the emotion of being knocked down by life.

These people no longer try to maintain what they have because the cost of "sustaining" is quite high, and instead they are focused on demand reduction. But this lifestyle is accompanied by dangers, such as freezing in the car and not having spare wheels to walk out of the driverless area.

This means that they have not chosen a more easy life on the road, nor to escape. Whether they are forced or forced to choose, they have become numb by the temptation of career, property, class and so on, and instead seek a "freedom" with high risk coefficient.

But this "freedom" relies on packaging express delivery in Amazon warehouses, loading a box of beets into trucks, being a mild cleaner in a RV Park, or busy between a bunch of fries burgers.

The value of human being is not causal with labor. A typical example is fern, because she has enough experience and ability to teach or be a manager.

Economic downturn, rising housing costs, failure of social security system But Zhao didn't simplify the living people as a byproduct of cold capitalism, nor did he capitalize on the "failed" parts of the social system.

Because even if they fall into such a situation, people still have space to go, not the dead bodies in capitalist cages.

It is this that makes the land of no dependence present the back of Ken Lodge's perspective of accusation. There is no difference between the two ways, and there is no need to be criticized for choosing only one perspective.
Although there is not enough denouncing part of anger in no one's land, sadness is another embodiment of anger, because these people are completely tired of lies and "rebellion against exploitation".

Fern belongs to the working class, often outspoken, can't stand anyone's pity, even seems inhuman.
But the character also has some surprising details, such as sitting in a van practicing flute and reciting Shakespeare's Sonnet No. 18 for a young tramp.

Self destruction and frankness are both present in fern, and Francis mcdermond can show this complexity with a look or a wry smile. She entered the role, but did not become a piece of narrative.

The fuzziness of not making moral judgment on the characters makes me see the shadow of "the fallen woman at the end of the earth" and "the gler". Walda's camera does not exist to aim at the vagrant woman and the gler, but excavates the rich logic belonging to the life itself.

These logics are often contrary to our life experience, but help to broaden people's definition of many words, such as poverty, wandering, being abandoned In the role of no country, these words are enriched as the "organism" of life.
Of course, there are also some unforgettable supporting roles and stories, such as Swan and Linda may, who are the same age as fern. As experienced travelers, they guide fern to communicate more thoroughly with nature and trauma.

And Dave's appearance and departure also made fern understand that she couldn't stay in the habitat of others.
Sometimes people think that one person chooses to leave or stay because of another "man", but not only that, because the house is also another manifestation of human spirit and flesh.

When the camera followed fern to look at every corner of Dave's house, it was clear - fern left because she was totally unfamiliar with everything in the room, another world belonging to Dave, and she didn't want to touch and integrate.

Fern's obsession with cars is the same, because it's another incarnation of her.
In addition, the circular narrative structure in the film is in step with nature.
Leaving and returning are executed at the same time. On the one hand, the film reroutes the landscape described in Bloom's book, and on the other hand, it touches the capitalist landscape of the 21st century.
People on the road flow between the two. Half of them are instrumental people in the capital market, and half of them are devoted to the original freedom. They withdraw from the front foot, and then step back. They will never really say goodbye.

The possibility of nomads lies in the quotation of time. Just like light, people can interpret everything they miss as "light" that has not yet reached their hands.
And this natural fit is also reflected in the soundtrack, which is mostly excerpted from the works of Ludovico Einaudi, a contemporary Italian classical composer. They began with quiet piano music and gradually evolved into a carefully arranged range.

These soundtracks are not tailor-made for "the land of no dependence", but are specially selected by Zhao ting for the film.
Most of her music comes from an anthology called seven days walking, which has seven albums, from Day1 to Day7, inspired by Ludovico inordi's hiking in the Alps.
He walked back and forth along the same road for seven days, making a very different emotional connection in the face of changing climate, light, temperature and wildlife.

In fact, no matter for a person or a collective, "home" is a concept of mobility. Sometimes, to find this home, you don't have to rely on "consolidating barriers", but let yourself go downstream.
Zhao Ting has also found her own "flow". She connects the fleeting happiness and solid heartache with the mystery of nature, which makes the process of watching "the land of no dependence" like gazing at an eternal sunset.

In addition, the resonance of "no country" is that it seems to be a response to the turbulence and anxiety of 2020.
This is a year that makes many people (including US) feel even more confused. We don't know where to go next and what will happen tomorrow. In the face of this proposition, the land of no dependence shows humility. It tries to cross the boundary between fact and fiction and unfold a desolate and gentle description. It allows real people to poetically interpret their own beautified version, in order to reach a deeper level of reality.