Movie Review: LAND (2021): A Quiet Meditation on Humanity Shrouded in a Cloak of Survival
Earth (2021) Film review, a film directed by and with Robin wright, and co-star Demián Bichir, Sarah Dawn’s Promise, Kim dickens, Warren christie, Finlay Wojtak-Hissong, Brad Leland, Dave trimble, Mitchell beard, Valérie Planche, and Laura Yenga.
With a setup like the survivalist genre that’s typically reserved for grandiose tales and horror thrillers, it’s a real surprise when something smaller and more intimate hits the scene.
This is the case with Robin Wright’s first film Earth, a story about replacing anxiety with loneliness and struggles to achieve emotional peace.
Wright’s character Edee suffers a traumatic loss and leaves his lifestyle from the big city of Chicago to the Wyoming wilderness to make it on his own. The story is sparse and co-writers Jesse Chatham and Erin Dignam are light on dialogue, but Wright lets that ambiguity speak for itself. In fact, beyond the introductory elements of the exhibit with his sister (Kim Dickens) and a Wyoming townsman (Brad Leland), there’s almost no conversation inside. Earthis the first 30 minutes. Edee barely speaks to herself (although she does want to mumble some doubts to herself).
During these quiet moments, Wright exudes moderate confidence with his management. She lets struggles arise without the need for descriptive commentary. Wright’s editors, Anne McCabe and Mikkel EG Nielsen, help him with this task, presenting pieces of Edee’s new lifestyle that seem momentarily insignificant, but add to a poignant, frustrating and painful struggle. even happy. McCabe and Nielsen also move those silent leaflets into such a clip in which no moment feels long or forgiving, but together they make Edee’s struggles endless and divorced from time itself.
This rhythm never dissipates, even when the dialogue is slowly reintroduced into the narrative. After Edee falls victim to a lightning strike during a winter blizzard and is brought back to life by hunter Miguel (Demián Bichir) and local nurse Alawa (Sarah Dawn Pledge), her life seems to last. as long as before … just with more talk (and still not this a lot). The only difference is that she now has the company of Miguel, who returns sporadically after his recovery to teach him how to hunt, how to prepare game, how to grow crops – to literally survive in the wild.
Miguel is not only a teacher but also a point of reintegration for Edee, someone to help him relearn how to interact with humanity. By the time Edee learns that she also realizes that she is similarly helping Miguel, who has experienced his own tragedy in his fairly recent past.
While the nit-picker in me might denounce the stilted awkwardness contained in the film’s multi-character scenes, it’s hard to do so when they never hang around past their welcome. Wright herself seems to be aware of this and keeps these scenes appropriately short and sweet so that they don’t become overbearing.
Likewise, the cynic in me might question the construction of Indigenous characters relegated to supporting roles in the service of a white woman’s emotional renewal arc, but the third act reveals Miguel’s own struggles even out that pitch. Edee can admit it sarcastically when she observes how Miguel “gives, gives, gives” as she “takes, takes, takes” and he agrees with a smirk, but their common revelation is rather that of the humanity as a shared experience of happiness and sorrow. . Their interactions with each other and the friendship that develops, although seemingly one-sided on both sides, is in fact a complex coping mechanism and support system for their various forms of trauma.
In this way Earth avoids the “human versus nature” boundaries of survivalist conflict instead of a larger structure, binding the struggles of humanity both to society and to themselves all together as one. It’s not just about fighting cabin-pest bears and dealing with the deadly cold of winter, but rather embracing the hardships of your past and learning to live with yourself despite it.
According to the film’s namesake, the earth is not just a ‘where’ but also a ‘who’ and a ‘why’, and Wright’s film addresses this spiritual interconnection with very judicious results.
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