LAND – Review

After what seems like years (well coming up on one in just a few weeks), lots of folks, especially urbanites, may be yearning, perhaps desperately, to get “away from it all’ and bask in the great outdoors. And for many, a weekend or so in a rental cabin in the woods, or “roughing it” on an RV, will be enough of an escape to appreciate the modern comforts (very little WiFi in the woods) and even the proximity of people. But for the main (or for most of it, only) character in this new film, that’s not enough. She wants no contact with anyone, sort of a modern-day version of a “hermit” (a phrase now mainly associated with the 60s pop group headed by “Herman”). But can she truly disconnect after being part of a major metropolis? Well, she is determined to change her view, from skyscrapers and bustling commuters to open sky and sprawling pristine acres of nearly untouched LAND.

That said metropolis is Chicago, where we first see a compact car pulling a small cargo trailer as it zips away from “the loop”. Inside is Edee (Robin Wright) who is recalling her last conversation with Emma (Kim Dickens) as she begins her long trek to Wyoming. Once there, Edee completes a business transaction with a local. He gives her a set of keys and asks her to follow his vehicle to her new home. They pull off a winding highway to a rough dirt road and arrive at a modest log cabin (and “outhouse”). She asks him to find someone to drive up after she’s unloaded to return her rental car and trailer (and collect a cash tip). He insists that she should have a vehicle of some sort, but Edee waves him away as she disposes of her cell phone. As the seller stated, it is a “fixer-upper” that consumes the next few days with cleaning, repairing, and storing her dozens of canned goods. Edee sees her rentals drive away as she returns from filling water jugs in a nearby creek. It becomes clear that Edee intends to stay here permanently, all by herself, and “live off the land”.  Despite her many survival manuals, she immediately struggles in hunting and trapping “game” and planting a small vegetable garden. Soon the weather and wildlife get the best of her, as she hallucinates Emma, along with a mysterious man and a young boy. Extreme hunger and the bitter cold cause her to drift in and out of consciousness. Will Edee’s desire for solitude lead to a horrific frozen death?

As with most “against the elements” stories its strength hinges on the actor at its center. Luckily the multi-talented (wait for it) Ms. Wright is more than up for this formidable task. The challenge is a bit higher since Edee is a mystery for most of the film. By the time she arrives at the cabin, we only know that she was very sad in Chicago and that Emma (maybe a sister) cares deeply about her. We see that gloom lift from her eyes once Edee begins to prepare for her new life. There’s a sense of joy even as she sweeps out mounds of dust and surveys the “waste facility annex”. Then the frustrations and aggravations begin to build as a wave of unease fills her. Then her despair allows the ghosts, visions of her past, to drag her into a downward spiral, though a hungry bear hastens the plunge. Wright’s compelling performance compels us to root for Edee even as she frustrates us with her refusal to seek aid. But some help does come from a couple of angels, one in the form of a friendly hunter Miguel, played with warmth and humor by Demian Bichir. His kindness and patience, never pushing her to leave, rescues her physically and spiritually. Miguel somehow reignites her belief in humanity. And though she also annoys him, he still charms her with his mangled versions of rock anthems. The other angel is a Native American nurse Alawa played with “tough love” by Sarah Dawn Pledge who trusts Miguel but still thinks Edee belongs in a hospital (for the cold and hunger). And Dickens plays Emma as a very “friendly ghost” who is passionate in her pleas for Edee’s return to the world.

So what was my “multi-talented” comment about? Well, this is the feature film directing debut of Ms. Wright (she previously helmed several episodes of her Netflix series “House of Cards”). A tough “double duty” as she’s in nearly every scene, much like Robert Redford a few years ago in ALL IS LOST. She certainly captures the quiet beauty of the wilderness (Canada subs for Wyoming here), while never letting us forget its dangers. We’re holding our breath along with Edee as guttural growls awaken her from slumber on her first dark night. While showing us her struggles, Wright lets us in on the joys of her triumphs. As Edee becomes more self-sufficient (via the gruff angelic Miguel), we’re cheering on her solitary decision, though we know that Emma must be in great pain. Then we wonder if Edee can interact with society once more. Wright expertly juggles all these themes while keeping the film moving at a brisk pace, clocking in at just under ninety “tight” minutes. Helping to draw us into the natural settings is the gorgeous cinematography from Bobby Bukowski accented by the subtle music score from Ben Sollee and Time for Three. LAND is an emotional dramatic adventure that is a triumph for another great actress/filmmaker. Wright “stuff” indeed.

3 out of 4

LAND opens in select theatres on February 12, 2021