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It is a gorgeous film that’s alternately dreamlike in the way it captures the beauty of this country and grounded in its story about the kind of person we don’t usually see in movies. Fern is the unforgettable center of Chloé Zhao’s masterful “Nomadland,” a movie that finds poetry in the story of a seemingly average woman. In this nightmare state, Fern’s husband died, leaving her completely alone and, well, she likes the word “houseless” more than “homeless.” Hitting the road in search of work as a seasonal employee at an Amazon center, Fern starts living in her van, eventually getting involved with a group of modern nomads, people who sometimes form makeshift communities, but she inevitably ends up alone again, traversing the American landscape. In six months, its entire zip code was eliminated.

The result is a film that earns its emotions, which come from genuine, honest empathy more than anything else.Of course, this is impossible with a lesser actress than Frances McDormand anchoring every single scene. Fern doesn’t think she needs to be redeemed or saved, and Zhao doesn’t push buttons in an attempt to make us feel sorry for her either, while also somehow never underestimating the loneliness and sadness of her situation. There’s a much lesser version of the true story of “Nomadland,” based on the book by Jessica Bruder, that does all of this, melodramatizing Fern’s story into one of redemption. Here’s the problem that needs to be solved for the leading man or lady to be happy by the end of the movie or damned because of their bad behavior. Here’s the good guy, here’s the bad guy.

(The only other familiar face belongs to David Strathairn, perfect as a man who Fern befriends.) There’s an improvised, natural quality to Fern’s conversations and interactions that grounds the film. A moving score by Ludovico Einaudi that’s easily my favorite of the year adds to the poetry of it all.Most of the people that Fern meets along the way in “Nomadland” are non-actors, people who live this life on the road. It’s honestly hard to figure out how Zhao has made a film that’s this beautiful in its compositions and somehow still feels like it has dirt under its fingernails. It’s a beautiful film just to experience, and it’s not just in “beauty shots.” Everything about the visual language of "Nomadland" is striking—just the way Richards and Zhao slowly glide their camera with Fern through a community of van-dwellers can feel lyrical while somehow never losing the truth and grit of the moment either. Fern’s journey takes her all across the United States and Zhao and Richards lean into the majesty of the world around her with long shots of the horizon, most of them seemingly shot at the magic hour. She reunites with Joshua James Richards, the cinematographer on “ The Rider,” and the pair again find beauty in the landscapes of the country.

Maybe we should hit the road.This review was filed in conjunction with the premiere at the Toronto International Film Festival. We may not all be able to relate directly to the struggles of Fern, but we can all feel that sense of unease and uncertainty. The images of “Nomadland” that feel like answers to the unrest and anxiety of 2020 are the ones that contain so much beauty about the simplest things—the smile of a friend, a dip in a river, a kind gesture of a stranger.