The rigorous, magnetic and full journey of 'Nomadland' is confirmed as the film of the Mostra and the post-quarantine

There are many reasons to travel.

From the interest of the merchant to the curiosity of the explorer through the laziness of the vagabond or the narcissism of the tourist.

And then, in the background, is

of not staying.

The world is too much with us and we are too much with ourselves, as the philosopher said.

And hence the need to throw oneself into simple solitude, chance and mystery.

Ultimately, it is about not surrendering to the order of the preconceived, of the given, of the limit.

We travel, said Saint John of the Cross,

And in the enigma of the unfound, he left the possibility of a necessarily incomplete life and, despite it or because of it, full.

Chinese-born director

has

at least two movies thinking about how to get rid of boundaries.

'

', presented with all honors on Friday and starring with a frightening mastery by

is basically the story of a nomad, of a traveler who has made a mistake, in its twofold sense of being wrong and going for a place to another, their way of being in the world.

And from there, a truly prodigious film emerges infected with a rare and piercing melancholy.

If in

Zhao made an effort to explore the meaning of the term "limit", now he applies a similar criterion to find the almost ontological meaning of the trip.

That film was a '

', a frontier tale set in the exact place of the promise of adventure;

there where the maps begin to doubt, where the dragons dwell.

From there the life of a cowboy was told to this day who, like the sailor of Mishima, lost the grace of the sea.

An accident left him without a job (he could no longer participate in rodeos) and placed him on the edge of all precipices.

What are we when we are nothing of what we were?

Finally, the entire film played to erase the space that separates

, the documentary of the film with a script organized in three acts.

In '

', the filmmaker returns to update another myth of the West;

the one who travels and portrays the infinite spaces of the plain.

After the closure of a mining operation, an entire town disappears.

A widow, after first resisting leaving the home of her former family, finally decides to leave.

Soon you will find some true professionals of nomadism.

And it will join not so much to them as to

It defines their rejection of the world that only consumes, their flight from the self-exploitation that consumes us.

They are a community of

fixed

'

'

travelers

who have managed to refute the entire society with the achievement, finally, of the eternally refuted perpetual motion.

The film is once again placed in a virgin space where the journey is not exactly an exit into the unknown but an entrance to what Schopenhauer, another consummate cowboy, called '

', reality in itself or, simply, the other.

Here too the search determines the journey.

But it is not about finding a solution to anything, but about walking very close to the void: What do you look for when everything has been lost?

And, again,

Nomads who '

' do it for real.

The strange mixture of academic interpretation with the natural self-representation of non-actors ends up becoming the very target of a film that, we have arrived,

Nothing else.

Despite the occasional uselessly scripted show of melodramatic air, the film remains rigorous and always attentive to its vocation to flee;

to her efforts to get away from the main roads.

'

' grows when it is thrown into detail,

or how to fix a simple puncture.

'

' takes his breaks so that the sadness weighs down inside.

'

' takes a deep breath in each of his doubts.

'

' ends up portraying with a precision that is as thorough and recognizable as it is eternal and shared the need for a house to get away from.

To maybe get back to her.

The film had come to the Mostra as a favorite.

Not in vain, there are three festivals (the Lido, Toronto and Telluride) that compete and share the sponsorship.

The expectation was not great, but infinite.

While waiting for all the prizes delayed by the pandemic to come, Venice has done it again.

As in the editions of '

or

the film of the year starts here: on this trip to nowhere that '

'

proposes

and that, without a doubt, it seems part of the loss in which we are.

A picture of 'In between dying'.

Another full trip

As the day was going on trips, unless the great surprise of the festival was also about escapes and reunions.

Or just losses.

by Azerbaijani director

narrates the necessarily discovery journey of a young man who contemplates in amazement how his will to love is directly proportional to his unconscious ability to cause the death of those around him.

The film describes in a tone between hallucinated, abstracted and only magnetic the absurd becoming of an absurd existence.

The ability of Baydarov to propose a grammar between tragedy and something darker than simply the comedy as indebted

and related to the sleepwalking spelling of the best works of the Mexican

, which does not in vain it appears as a producer.

What is seen is a journey that will only be completed when the protagonist accepts the impossibility of his purpose, when he succeeds in discovering that there is nothing to discover.

And that is already a discovery.

The only possible probably.

.

The fog, the rain, the mud and a scrawny horse delimit the cardinal points of a path definitely without maps, without coordinates and only guided by the will to get lost.

Travel, again, not to see.

And so.

According to the criteria of The Trust Project

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