writer-director Chloé Zhao’s follow-up to 2017’sand the sort of unsentimental, penetrating, highly nuanced look at American life on the fringes that comes along once a decade, if you’re lucky. A fictional story gleaned from author Jessica Bruder’s nonfiction book on 21st century AARP-age migrants, this character study of a community focuses primarily on Fern , a widow ready to hit the road.
It’d be a mistake, however, to think that this look at people with a need for constant mobility is just a triumph of extraordinary verisimilitude or borrowed-verité technique. The Beijing-born, London-and-L.A.–bred Zhao had already demonstrated a facility for standing back and letting things unfold in front of her cameras, as well as playing to her performers’ firsthand cultural/subcultural knowledge, in.
It’s tempting to compare Lee’s rigorous costume drama about a rigged class system and buttoned-up lust to another recent period piece about sapphic desire on the salty-aired shores — call it— but such reductive thinking risks giving what really is a singular work short shrift. Also, the “simmer” descriptive doesn’t quite fit once you get to what can only be described as a thoroughly committed example of onscreen carnal knowledge.
This would be a top-five concert film regardless of whether it played the festival or not, and when this eventually hits HBO Max in October, you’ll see for yourself what a flat-out masterpiece it is.
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