Nomadland a movie search with the contradiction of the drama creator

Unlike many PEOPLE in imdb, The films that confine their central narrative position to a specific spatial or temporal range have no choice but to use dynamic editing or tell the story of the space and atmosphere of the situation, or perimeter, to keep their drama alive and moving And to revolve around the character and situation, or to move from the weak plot of the situation to the plot and story of the character.

Now in “Land of the Displaced,” Kidney Zhao also has a relatively fluid, rotating, searching camera, a fast pace (usually short sequences from the beginning to the middle of the film), and a constant but concise introduction to the of the sub-situations surrounding the character (from the same sequences). In the editing, which caused a fast pace in the narrative, at least in the first third of the film); Everything was centered on the character of Farn as the center of gravity of the drama; That is to say, in this “character film”, all these peripheral and peripheral and narratives of the space and atmosphere of the situation, have a share in the camera of the filmmaker as long as the main character is present there; The kind of narrative that would normally be full of tone and momentary, but in proportion to the position of the “house to shoulder” of the main character and in constant movement from one point to another (which contrasts this “house to shoulder” with having a fixed house and life, the theme Shapes the film), ironically, is not at all momentary; On the contrary, it is far from any kind of exaggeration, it has a fast pace in the narrative and editing, and it is very eclectic and contractual, both in the narrative and in the drama; Except in places where it wants to enter the realm of loneliness and dramatic solitude of the character ; Such as the sequence in which Farn makes a tour from the beginning to the end of the camp, and Zhao’s kidney camera, patiently and momentarily, moves in medium view, a little distance with the character, without trying to get too close to the view Disrupt the intimacy of his main character.

This narrative and the theatrical scheme is pseudo-documentary (which seems to be more or less inspired by Anis Warda’s “House in the Shower” in the verbal and conversational sequences, and some non-verbal sequences based solely on the fluid image and the camera, some of the later trance films. Malik is affected), more or less uniformly, until the middle of the film (Farn’s car breaks down), and then until Fern hesitates to stay with the death of Dave and Swanky. (The second turning point of the film), it is only the content of the later sub-situations that saves the film from the narrative void; The “monotony” which, unlike Florian Zeller’s “Father” in Kelly Zhao’s “The Land of the Displaced”, does not reinforce the coexistence of the viewer with the character and his situation, but creates a distance between the audience and the character (and also The path to the world disconnects the film from the familiar world; Especially in the sense that Zhao Kidney’s film, unlike at least a third of Florian Zeller’s, does not depend so much on Francis McDormand’s performance that it can add functionality beyond directing and storytelling to the work and keep the audience connected to the world of cinema. holds.

Of course, Chloe Zhao’s “Land of the Displaced”, like Florian Zeller’s “Father”, follows the ups and downs of the character, or the ups and downs of the drama, internally and again through “The Struggle with One”, and in this regard, the last third of the film (especially of Farn plays the main role when he hesitates to return to the refugee camp or stay with the demon under one roof; As the shots and sequences lengthen, the pace of the narrative and editing slows, the mise en scène becomes more momentary, and the camera, in the form of close-ups (which he generally refused to take until the middle of the film), closer to Fern’s solitude and struggles. With itself, concentrated and in the silences and stillness, this time is formed with the centrality of Francis McDormand’s performance; The same contradiction that Zhao’s kidney drama needed to thrive; A silent contradiction between staying at home and finding shelter; An internal contradiction that, although formed late, can finally mark the drama; A drama that, if it had become a bit thinner and more “compact” in terms of the multiplicity of its intermediate sub-situations (except, of course, the sub-situations related to “Swanki”), then it could have been more fluid in terms of narrative path and expression, and more consistent with the audience.