‘It’s an utter myth’: how Nomadland exposes the cult of the western Xan Brooks © Provided by The Guardian Photograph: Everett Collection/Alamy
It has been a wild ride for Nomadland, Chloé Zhao’s roving portrait of the US’s rootless modern migrants. Shot for $5m and largely featuring amateur actors, it is the little movie that could: this year’s rags-to-riches story, beloved by the critics and odds-setters alike. The road has been cleared, the gold rush is on, but the Hollywood happy ending feels at odds with the film. As Nomadland steers its westerly course – from the Baftas in London to the Oscars in Los Angeles – it is living a dream that it knows is a lie.
It s an utter myth : how Nomadland exposes the cult of the western | Nomadland
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It was nearly midnight by the time I reached Erica’s backyard party, after going to a concert in Prospect Park and taking a long subway ride to Williamsburg. Honestly, I was proud that I had managed to drag myself out at all.
I had been in the habit of canceling plans, too depressed to leave my apartment. My career had stalled. I’d just extricated myself from a long entanglement with an emotionally unavailable man. And my father had recently died from cancer only three months after his diagnosis.
The beers I had downed at the show were giving way to a gnawing hunger. Before me, on a dessert table, lay a sumptuous chocolate cake, but I couldn’t find any forks.