Conflict exists in all documentaries and in God’s Country the conflict is subtle. It unravels slowly and inconspicuously. In fact, the conflict is debatable through the first two-thirds of the film. We become acquainted with conflicts between generations, conflicts of change and religion. Despite these conflicts, Malle delicately presents a gregarious Glencoe, Minnesota—Anytown, America, and at last, we discover the economic turmoil facing farmers six years later, many of whom attribute their troubles to Reganomics.

These conflicts are important to the film but they are not priority. God Country’s redeeming quality lies in its tender characters. Malle respects his subjects. And though these subjects allow room for ridicule, the crew is never disrespectful or condescending, unlike many contemporary documentaries. Since the crew respects its subjects, the audience does also. And it minimizes our criticisms, I think, while protecting the humanity of the subjects. These things are important in documentaries and Malle’s approach creates a thoughtful and engaging film here. I recommend it highly.