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Zhao has fashioned a spacious, restless American road movie that at once feels indebted to just about every landmark in that essential genre — from The Grapes of Wrath to Easy Rider — while forging its own route, determined by 21st-century economics, and the inquisitive modernity of Zhao's signature docufiction technique. The result is a moving, movable Rorschach of a road movie...

It is hard to imagine Nomadland working in any other contemporary democracy. That is partly to do with the overpowering landscape. It is partly to do with the particular outrages of American capitalism. But there is also a sense of Fern standing in for a unique class of individualist you find only in certain parts of the United States.

"Nomadland" is a beautiful, humanistic film, confirming Zhao’s gift for finding lyricism in real pain and vice versa. Given its source material, its visual grandeur, and the moment in which it appears, I suspect it will be treated as something more representative, more socially significant than that.

"Nomadland" is achingly beautiful and sad, a profound work of empathy from Zhao. It’s a true elegy, a lament for the dead, a yearning for the lost. There’s no hint of sentimentality in Fern or in Nomadland — only a need to remember and to keep living.

"Nomadland" is a meticulously crafted little movie, anchored by a star at the top of her game. Yet it's possible to enjoy the film on that level and still come away feeling if the film makes much noise in the awards hunt, it's a sign that this was a relatively weak year.

The problem with Nomadland, however, is that there is too little story, or fiction... The character of Fern was created for the film, but the filmmakers neglected to erect a storyline for her. And since we are kept emotionally distant from Fern, Nomadland doesn’t truly succeed either as a character study. McDormand turns Fern into a great protagonist, but she lacks narrative direction. By the end, Nomadland frustratingly wanders off the edge of the map.

Though Fern’s story is made up, the world through which she’s traveling is real, made all the more striking by the rest of the cast and the little, seemingly insignificant moments Zhao chooses to linger on... That feeling of attentiveness and empathy runs throughout the entire film, easily distinguishing it as one of 2020’s best.

“Nomadland” is the kind of big and big-hearted movie — featuring a central performance at once epic and fine-tuned — that reminds you of how much life one film can hold, when circumstances allow... Under Zhao’s assured hand, what starts as a tone poem to the idiosyncratic urges that drive us swells into an ecstatic hymn to the ties that bind us — to each other, and to the fragile, stubbornly enduring natural world we inhabit alone, together.

An instant American masterpiece that feels like something John Steinbeck might have written had he worked in the early 21st century... If you miss this film, you are robbing yourself of one of the great movie-watching experiences of your life.

“Nomadland” is not a conventional film. It is sometimes frustrating, and often it seems terribly pleased with itself (if you can imagine a movie having a self-image). It might have worked better as a documentary. But it’s well-made, and different, and it’s not slow.

Attuned to the rhythms of the road and the alternately harsh and inviting (and awe-inspiring) terrain of the Midwest, and populated by a host of excellent non-professional actors, Zhao’s film is a a poetic Malickian ode to the pioneering nature of the restless American spirit.

["Nomadland"] is anchored by a dynamic, prickly, deeply compelling lead performance from Frances McDormand... Zhao places the failed promises of the American dream alongside some of its most beautiful, breathtaking vistas, as Fern pursues a life that isn’t driven by a search for success and wealth.