I recently reviewed "Nomadland," starring Frances McDormand, in which a woman deals with loss by becoming a wandering vandweller. Last night, I watched a movie simply titled "Land," about a woman who is also dealing with loss (the tragic deaths of her husband and young son). "Land" is directed by and stars Robin Wright as a middle-aged widow named Edee who keeps her wedding band on her finger and is trying to cope with the loss of her family. She goes to therapy; she rejects the offers of help from her sister. Ultimately, she decides she's sick of people and society, so she buys some remote property out in Wyoming and tries to eke out an existence on her own, despite knowing little to nothing about how to survive in the wild.
Things don't go well for Edee. She doesn't lack for common sense and grit, but she does lack basic survival skills, and she ends up nearly dead. A random hunter, Miguel (Demián Bichir), discovers Edee nearly frozen to death; he brings in a Native American nurse (Sarah Dawn Pledge) to help Edee out. When the nurse says she has to leave, Miguel offers to take care of Edee, who eventually comes around and gets better. Edee and Miguel strike up a quiet, tentative friendship, with Miguel offering to teach Edee the basics of wilderness survival—how to hunt, trap, and dress carcasses. Miguel's gentle humor charms Edee a bit out of her shell, but she's still reticent when it comes to talking about the tragedy that drove her away from society. Miguel, for his part, quietly accepts Edee's silence, adding levity by constantly singing the Tears for Fears song "Everybody Wants to Rule the World."
The title "Land" is a hint that much of the story is about the setting, and Wyoming (the movie was actually filmed in Alberta, Canada) is a major character unto itself. This is an introvert's movie—quiet and thoughtful, with many scenes in which there's little to no dialogue as Edee at first struggles on her own, then learns wilderness lore from Miguel. The sweeping, mountainous landscapes are, in a way, a metaphor for Edee's internal state, at once empty and sad, but also beautiful and strong. Little by little, with Miguel's often-stolid, often-humorous help, Edee comes back to herself and starts to live again.
The ending of "Land" shouldn't be spoiled, but it's bittersweet as Edee slowly regains stability. I came away from the film in a thoughtful mood. During the first few minutes of the story, I wasn't sure I was enjoying the experience, but as the movie went on, I became more engaged and invested in Edee's travails, and then her successes. Robin Wright gives a magnificent performance that's easily as good as Frances McDormand's; it's a bit of a shame that "Land" and "Nomadland" both tread similar ground (woman with tragic past copes by retreating from mainstream society); the latter movie came out in 2020, so there's no way "Land" will receive anything like the Oscar attention that "Nomadland" received. I think "Land" is arguably the superior movie, even though it took me some time to warm up to it.
This film was Wright's directorial debut. A bit like her ex-husband Sean Penn, she seems to have a fascination with loners and wildernesses, and overall, I'd say she helmed the movie with a sure hand. The plot's pacing is even; the cinematography is lush; the story is spare and simple but full of feeling. I'll be curious to see what Wright does next.
Demián Bichir also deserves praise for his turn as Miguel. He makes for a convincing hunter who even gives off, at moments, an almost rakish, long-legged-cowboy sort of vibe. Miguel has his own tragic past, which he confesses to Edee before Edee is ready to divulge her own demons, and this asymmetry is part of what drives the plot. But that asymmetry notwithstanding, Miguel proves essential for Edee's healing; his friendly, humble presence is therapeutic for her, a balm for her tortured soul.
Don't go into "Land" looking for action and adventure. It's a slow-moving plot, and it revolves around the heavy subject of family tragedy and how to cope with loss. As an introvert myself, I've had my own fantasies about leaving society and living alone, off the grid somewhere remote, surviving on my wits. But like Edee at the start of the film, I doubt I could hack a true wilderness experience. By the end of "Land," Edee knows enough to survive on her own, her native toughness now reinforced with knowledge. Following her arc through the film is an experience I heartily recommend.
I didn't want to put this in the review itself, but there's a whole side discussion to be had about the nature of strong female characters in the age of woke. Woke-istas might not like "Land" because Edee (1) is internally miserable, (2) receives help from a strong male character, and (3) is actually vulnerable and even thankful.
ReplyDeleteThese days, female characters make up for faux-feminist insecurities by being overpowered Mary Sues who find themselves in the traditionally male roles of comforter and swashbuckling hero. This is, in my opinion, a fundamental misunderstanding of feminine strength. Edee is strong at the beginning of the film, but she's been torn up by the sudden loss of her husband and son. Woke feminists might want to write such a character as stoically bearing her pain, but this isn't what we see in "Land." Early on, we see Edee in therapy, and soon after, she's weeping uncontrollably in the arms of her sister, who wants to help but doesn't know how to penetrate Edee's shell.
But I appreciate Edee precisely because she's strong and resilient enough to transcend tragedy, learn skills, regain a desire to live, and rediscover the inner toughness she's always had. Edee, to me, is a good example of a well-written female character. I wasn't kidding when I said above that I recommend following her arc.
I was hoping for spoilers...
ReplyDeleteEnjoyed the review of a film I'm unlikely to ever see though.