There is a golden rule about the Oscars that will remain relevant whether there is a global pandemic, significant changes to the Best Picture inclusion standards or if the theatrical distribution system completely collapses. Simply, when it comes down to it, Academy voters are ruled by emotion. A film or performance has to meet a “standard,” no doubt, but, more so, it has to move them. And that’s one reason why, in this unconventional awards season, Chloe Zhao’s “Nomadland” needs to be taken very, very seriously.
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A Searchlight Pictures release, “Nomadland” centers on Fern (Frances McDormand), a sixty-something widow who has been traveling from one temporary job to another after. Fern is the victim of the collapse of Empire, Nevada, a real town that practically disappeared after its sole employer, a gypsum mine, was closed after 88 years of operation. Despite offers of help from friends and family, she has embraced a lifestyle that over the course of a year will find her working at a camp in the badlands of South Dakota, taking a holiday shipping gig at an Amazon facility and meeting up with other “nomads” in the southwest, all while living out of her van. Along the way, she connects with three individual wanderers whose stories reflect the dichotomy and despair of the American economy in the 21st Century. And she forms an arms-length friendship with a man, David Strathairn, who hopes their relationship will blossom into something more.
If you happened to have loved Zhao’s last film, the critically acclaimed “The Rider,” you’ll likely have a similar reaction to “Nomadland.” It’s stylistically similar in both its aesthetics, partially thanks to longtime collaborator and massively talented director of photography Joshua James Richards, and the fact Zhao cast a number of real-life people as characters in the film. The Chinese filmmaker also edited and wrote the screenplay, an adaption of Jessica Bruder’s novel “Nomadland: Surviving America in the Twenty-First Century,” herself. And she produced along with a number of colleagues including the film’s star, McDormand.
Oh, right. Frances. Well, she’s the easy conversation. We’ll get to her in a minute.
Remember that aforementioned rule about emotion? This writer has no problem admitting he welled up and cried three times during the film. Granted, I was lucky enough to see it in a traditional theater and that might not be the case for all guild or Academy members over the next five months. AMPAS and guild member are used to screeners, obviously, but this is a movie best served by not looking at your phone every five minutes. That being said, this is a film that should have a passionate base behind it when it comes to the Best Picture race. The fact it was selected for all four major fall festivals isn’t because it’s the only “studio” picture in play, it’s because of its masterful merits. It should resonate enough beyond McDormand’s performance to make the cut and that’s not even taking into account what should be significant critical acclaim.
In terms of other potential honors (let’s be frank, that’s why you’re reading this), Zhao should earn enough respect from her peers to be in the discussion for a Best Director nomination even in a competitive field. Adapted Screenplay is always tough and it wouldn’t surprise us if Zhao’s cinema verite style may dissuade some in the Writer’s Branch even if it truly shouldn’t. As for Editing, it deserves a nod, but, it’s too early to gauge the field at this point.
As for Ms. McDormand, it would be shocking if she’s not one of the Best Actress nominees announced next March (yes, it’s that far away). The two-time Best Actress winner lives up to the months of hype in what is one of the best performances of her already lauded career (call it hyperbole if you must, but it’s true). McDormand somehow turns Fern’s inherent solitude and instinct to wander into something both heartbreaking and aspirational at the same time. And, please, don’t even think of anointing her the winner (it’s September, people). McDormand has already been honored twice and deserving or not, in the modern voting era, the Academy doesn’t crown actors three times on a regular basis although Daniel Day-Lewis is the outlier, in that respect. It took Meryl Streep twenty-nine years while peers such as Tom Hanks, Denzel Washington and Cate Blanchett are still waiting patiently as worthy turns are overlooked again and again. And don’t forget, this may be Viola Davis‘ moment for a second statue if “Ma Rainey’s Black Bottom” is as impressive as promised.
Again, Richards should earn some love for his cinematography, but that branch ignored his accomplished work in “The Rider,” so it won’t be an easy campaign this time around either. Moreover, the film’s sound team has done marvelous work and with the new combined sound achievement honor, it’s certainly possible. But, more importantly, another worthy Best Picture player has screened publicly after A24’s Sundance breakout, “Minari” in January. And for those who get excited about cinematic excellence, in these troubling times, it’s something to look forward to.
“Nomandland” is set to arrive in theaters Dec. 4
