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| “People wish to be settled,” Ralph Waldo Emerson wrote. “Only as far as they are unsettled is there any hope for them.” This tension between stability and uprooting, between the illusory consolations of home and the risky lure of the open road, lies at the heart of “Nomadland,” Chloé Zhao’s expansive and intimate third feature. |
| “人们希望得到安顿，”拉尔夫·沃尔多·爱默生(Ralph Waldo Emerson)写道。“如果没有得到安顿，他们就只剩下希望。”这种稳定与流离、家园的虚幻慰藉与大路的危险诱惑之间的紧张关系，是赵婷广阔而又亲切的第三部作品《无依之地》(Nomadland)的核心所在。 |
| Based on Jessica Bruder’s lively, thoroughly reported book of the same name, “Nomadland” stars Frances McDormand as Fern, a fictional former resident of a formerly real place. The movie begins with the end of Empire, Nev., a company town that officially went out of existence in late 2010, after the local gypsum mine and the Sheetrock factory shut down. Fern, a widow, takes to the highway in a white van that she christens with the name Vanguard and customizes with a sleeping alcove, a cooking area and a storage space for the few keepsakes from her previous life. Fern and Vanguard join a rolling, dispersed tribe — a subculture and a literal movement of itinerant Americans and their vehicles, an unsettled nation within the boundaries of the U.S.A. |
| 影片根据杰西卡·布鲁德(Jessica Bruder)的那本得到充分报道的生动书籍改编，弗朗西斯·麦克多蒙德(Frances McDormand)在片中饰演费恩(Fern)，一个虚构人物，曾经住在以前的一个真实地点。影片从内华达州帝国镇的终结开始。在当地的石膏矿和石膏板厂关闭后，这座企业小镇于2010年底正式消失。寡妇费恩开着一辆白色露营车行驶在高速公路上，她给这辆车起名叫“先锋”(Vanguard)，还为它打造了一个睡觉的小隔间、一个烹饪区，以及一个存放以前生活中为数不多的遗物的空间。费恩和“先锋”加入了一个流动、分散的部落——这是流浪美国人和他们的车辆的一种亚文化以及他们字面意义上的“运动”，也是在美利坚合众国境内的一个居无定所的国家。 |
| Bruder’s book, unfolding in the wake of the Great Recession, emphasizes the economic upheaval and social dislocation that drive people like Fern — middle-aged and older; middle-class, more or less — out onto the road. Reeling from unemployment, broken marriages, lost pensions and collapsing home values, they work long hours in Amazon warehouses during the winter holidays and poorly paid stints at national parks in the summer months. They are footloose but also desperate, squeezed by rising inequality and a frayed safety net. |
| 布鲁德的书从经济大衰退之后展开，强调了经济动荡和社会失调，导致费恩这样的人——中老年、多少算是中产阶级——过起了路上的生活。他们因失业、婚姻破裂、养老金损失和房价暴跌的影响陷入困境，冬季假期长时间在亚马逊(Amazon)的仓库工作，夏季的几个月里在国家公园工作，薪水很低。他们自由自在，但也很绝望，受到日益加剧的不平等和破败的安全网的挤压。 |
| Zhao smooths away some of this social criticism, focusing on the practical particulars of vagabond life and the personal qualities — resilience, solidarity, thrift — of its adherents. Except for McDormand and a few others, nearly all of the people in “Nomadland” are playing versions of themselves, having made the slightly magical transition from nonfiction page to nondocumentary screen. They include Bob Wells, the magnificently bearded mentor to legions of van dwellers, who summons them to an annual conclave — part cultural festival, part self-help seminar — in Quartzsite, Ariz.; Swankie, an intrepid kayaker, problem solver and nature lover; and Linda May, a central figure in Bruder’s book who nearly steals the movie as Fern’s best friend. |
| 赵婷抹去了一些社会批评，聚焦于流浪生活的实际细节和流浪者的个人品行——坚韧、团结、节俭。除了麦克多蒙德和其他几个人，《无依之地》里几乎所有角色都是由本人出演，从纪实作品的书页到虚构影片的屏幕，产生了一种有些神奇的过渡。这其中包括鲍勃·威尔斯(Bob Wells)，这位大胡子是许多货车栖居者的导师，他会召集人们到亚利桑那州阔茨赛特参加一场年度秘密会议——兼有文化节和自助研讨会的性质；斯旺基(Swankie)是个勇敢的皮划艇运动员、问题解决者和大自然爱好者；还有布鲁德书中的核心人物琳达·梅(Linda May)，她作为费恩最好的朋友，几乎抢了整部电影的风头。 |
| Friendship and solitude are the poles between which Zhao’s film oscillates. It has a loose, episodic structure, and a mood of understated toughness that matches the ethos it explores. Zhao, who edited “Nomadland” in addition to writing and directing, sometimes lingers over majestic Western landscapes and sometimes cuts quickly from one detail to the next. As in “The Rider,” her 2018 film about a rodeo cowboy in South Dakota, she’s attentive to the interplay between human emotion and geography, to the way space, light and wind reveal character. |
| 友谊和孤独是赵婷电影中摇摆的两个极端。它有一个松散的、情节性的结构，以及一种低调而强硬的情绪，与它所探索的精神相匹配。除了编剧和导演之外，赵婷还负责《无依之地》的剪辑工作。她有时在雄伟的西部风景中徘徊，有时在一个细节到另一个细节之间快速切换。正如她2018年关于南达科他州竞技牛仔的的电影《骑士》(The Rider)一样，她关注人类情感与地理的相互作用，以及空间、光线和风揭示性格的方式。 |
| She captures the busyness and the tedium of Fern’s days — long hours behind the wheel or at a job; disruptions caused by weather, interpersonal conflict or vehicle trouble — without rushing or dragging. “Nomadland” is patient, compassionate and open, motivated by an impulse to wander and observe rather than to judge or explain. |
| 她不疾不徐地捕捉费恩每天的忙碌和乏味——长时间的开车或工作；由天气、人际冲突或车辆故障造成的破坏。《无依之地》耐心、充满同情心而开放，它的动机是漫游和观察，而不是判断或解释。 |
| Fern, we eventually discover, has a sister (Melissa Smith), who helps her out of a jam and praises her as “the bravest and most honest” member of their family. We believe those words because they also apply to McDormand, whose grit, empathy and discipline have never been so powerfully evident. I don’t mean to suggest that this is an awards-soliciting display of acting technique, a movie star’s bravura impersonation of an ordinary person. Quite the opposite. A lot of what McDormand does is listen, giving moral and emotional support to the nonprofessional actors as they tell their stories. Her skill and sensitivity help persuade you that what you are seeing isn’t just realistic, but true. |
| 我们最终发现，费恩有一个姊妹（梅丽莎·史密斯[Melissa Smith]饰），她帮助费恩摆脱困境，还称赞她是家庭中“最勇敢、最诚实的”成员。我们相信这些话，因为它们同样适用于麦克多蒙德，她的勇气、同理心和自律从未如此有力地表现出来。我不认为这是一种为了吸引奖项而展示的表演技巧，是电影明星对普通人的大胆模仿。恰恰相反。麦克多蒙德做的很多事情是倾听，在非专业演员讲述自己的故事时，给予他们道德和情感上的支持。她的技巧和敏感有助于说服你，你所看到的不仅是现实的，还是真实的。 |
| Which brings me, somewhat reluctantly, to David Strathairn, who plays a fellow wanderer named Dave. He’s a soft-spoken, silver-haired fellow who catches Fern’s eye and gently tries to win her affection. His attempts to be helpful are clumsy and not always well judged — he offers her a bag of licorice sticks when what she wants is a pack of cigarettes — and although Fern likes him pretty well, her feelings are decidedly mixed. |
| 这让我有点不情愿地想到大卫·斯特拉塞恩(David Strathairn)，他在片中饰演一个名叫戴夫(Dave)的流浪者，是个说话温和、满头银发的家伙，吸引了费恩的目光，并且温柔地试图赢得她的好感。他试图帮助她，但却很笨拙，并不总能做出正确的判断——她想要一包香烟，他却给了她一包甘草棒——尽管费恩很喜欢他，但她的感情显然是复杂的。 |
| Mine too. Straitharn is a wonderful actor and an intriguing, nontoxic masculine presence, but the fact that you know that as soon as you see him is a bit of a problem. Our first glimpse of Dave, coming into focus behind a box of can openers at an impromptu swap meet, is close to a spoiler. The vast horizon of Fern’s story suddenly threatens to contract into a plot. He promises — or threatens — that a familiar narrative will overtake both Fern and the movie. |
| 我的感觉也很复杂。斯特拉塞恩是一个很棒的演员，一个有趣而无害的男性存在，但事实上，你一看到他就知道，他有点问题。我们第一次看到戴夫，是在一个临时交流市场上，他出现在一箱开罐器后面，这几乎是一个剧透。费恩广阔的故事空间突然有了收缩为一个情节的危险。他承诺——或者威胁——一个熟悉的叙事将要超越费恩和这部电影。 |
| To some degree, “Nomadland” wishes to be settled — wants not necessarily to domesticate its heroine, but at least to bend her journey into a more-or-less predictable arc. At the same time, and in a fine Emersonian spirit, the movie rebels against its own conventional impulses, gravitating toward an idea of experience that is more complicated, more open-ended, more contradictory than what most American movies are willing to permit. |
| 在某种程度上，《无依之地》希望安顿下来——不一定要让女主角被驯化，但至少要将她的旅程弯曲成一个大致可预测的弧线。与此同时，本着一种细腻的爱默生精神，影片反抗了自身的传统冲动，倾向于一种比大多数美国电影中愿意出现的更复杂、更开放、更矛盾的体验理念。 |
| Zhao’s vision of the West includes breathtaking rock formations, ancient forests and wide desert vistas — and also iced-over parking lots, litter-strewn campsites and cavernous, soulless workplaces. Against the backdrop of the Badlands or an Amazon fulfillment center, an individual can shrink down to almost nothing. The nomad existence is at once an acknowledgment of human impermanence and a protest against it. |
| 在赵婷眼中，西部世界包括令人叹为观止的岩层、古老的森林和广阔的沙漠景观，也有结冰的停车场、垃圾遍地的营地，以及空洞的、没有灵魂的工作场所。在“恶土”或亚马逊物流中心的背景下，一个人几乎可以缩小到一无所有。流浪者的存在既是对人类无常的承认，也是对无常的抗议。 |
| Fern and her friends are united as much by the experience of loss as by the spirit of adventure. So many of the stories they share are tinged with grief. It’s hard to describe the mixture of sadness, wonder and gratitude that you feel in their company — in Fern’s company, and through her eyes and ears. It’s like discovering a new country, one you may want to visit more than once. |
| 费恩和朋友们因失去亲人的经历和冒险精神而团结在一起。他们分享的许多故事都带着悲伤。在他们的陪伴下——在费恩的陪伴下——通过她的眼睛和耳朵，你所感受到的悲伤、惊奇和感激的混合物是很难描述的。这就像发现一个新的国家，一个你可能想要多次造访的国家。 |
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