I knew I would feel a certain way about Nomadland before ever watching it. It’s delicate subject matter with an even more delicate conceit: the immense impact of economic disparity and late capitalism seen through the eyes of a woman intent on escaping it, channelled through the experiences of real people — “nomads,” as the film calls them and they call themselves — who are filmed alongside big stars like Frances McDormand and David Strathairn, both of whom put in objectively excellent performances.
There’s no denying the sublimity of these people’s experiences, on full display here and illuminated with a gentle touch by Chloé Zhao. But I’m left wondering if the film is really on their side, or if it serves a totally different purpose.
So much of Nomadland depicts the sort of poverty and uncertainty that is so romanticized by a generation, or really several generations, all of whom have grown up in the kind of world where wages stay the same but costs rise exponentially. I don’t think it’s full on “poverty porn,” which is certainly one way to read it, but the aftertaste for me is one of voyeurism and subtle manipulation.
Whom does this movie serve? Is it intended for an audience that can truly relate to the experience of Fern, or any of the people in her orbit? For my money it’s aimed more at the sort of liberal mindset that will shower Oscars and praise onto whatever helps them feel that they better understand an experience that for them exists in a vacuum, where the issues are personal rather than structural. It’s a balm rather than a wake up call, sentimental rather than critical, and it rings false to me.
There’s no denying it’s well made, and Zhao truly has an eye — but however well-intentioned Nomadland is, my overall impression is that this kind of story might never be able to be properly told within the meat grinder of Hollywood. I can’t wait to see what she does next (after Eternals lol), and I hope it moves beyond the kind of apolitical fanservice that seems intent to soothe rather than challenge.
This review was originally written for Letterboxd.