Chloé Zhao is a Chinese-American filmmaker known for her naturalistic approach to storytelling. She has directed critically acclaimed films like Nomadland and The Rider, which blend documentary techniques with fictional narratives. Her work often features non-professional actors and emphasizes authentic human experiences.
The Philosophy Behind Naturalism
Chloé Zhao’s filmmaking isn’t about polished performances or Hollywood gloss. It’s about truth. She studied anthropology at NYU, and that background shapes everything she does. Zhao believes real human stories come from real people living their lives. When she directs, she avoids traditional acting methods entirely. Instead of asking actors to pretend, she invites real individuals to share their experiences. For example, in naturalism, she lets people be themselves-no scripts, no rehearsals. This creates raw, unfiltered moments that feel more genuine than anything scripted.
Her approach isn’t about making documentaries. It’s about using documentary techniques to tell fictional stories. She films in real locations, uses natural light, and often shoots long takes without cutting. This lets the environment and the people shape the narrative. Zhao once said, "I’m not interested in acting. I’m interested in being." That simple phrase captures her entire philosophy.
Real People, Real Stories in The Rider
The Rider is a 2017 film that follows Brady Jandreau, a real-life rodeo rider who suffered a traumatic brain injury. The story mirrors his actual life, with scenes filmed on his family’s ranch in South Dakota. The budget was just $200,000, and it was shot in 20 days. Zhao cast Brady and his family members as themselves, capturing their daily struggles with stunning authenticity.
When Brady’s character tries to return to rodeo after his injury, the tension isn’t acted-it’s real. Zhao filmed actual rodeo competitions, using Brady’s real injuries and fears. The scene where he struggles with his balance isn’t staged; it’s based on his own recovery. This approach created a film that feels like a documentary, yet it’s a fully realized narrative. Critics praised its emotional depth, calling it "one of the most honest portrayals of rural America in recent cinema."
Landscapes as Living Characters in Nomadland
Nomadland isn’t just a movie about nomads-it’s a love letter to the American West. The landscape isn’t a backdrop; it’s a character. Zhao filmed in real RV parks, deserts, and national parks like Badlands National Park. The harsh beauty of these places shapes every moment of the story. Real nomads like Linda May and Swankie play themselves, sharing their lives without scripts.
When Fern (played by Frances McDormand) travels across the West, the camera lingers on the dust, the sunsets, and the silence. These aren’t just pretty shots-they show how the environment shapes human resilience. Zhao used a tiny crew, often just herself and a few others, to capture the rawness of these locations. The film’s budget was $4 million, but most of it went to real locations and real people. The result? A story where the land itself feels alive, breathing, and essential to every character’s journey.
The Emotional Power of Authenticity
Why does this approach work so well? Because it taps into something deeper than acting. When real people share their truths, the emotions feel universal. In Nomadland, Fern’s conversations with Linda May aren’t scripted-they’re genuine. Linda May talks about losing her home, her struggles, and her hope. These moments resonate because they’re real. Zhao doesn’t direct her cast; she guides them to be themselves. This creates a connection between the audience and the characters that feels intimate and honest.
Frances McDormand, a seasoned actor, adapted to this method perfectly. She didn’t play a character; she became part of the nomad community. In interviews, she said working with Zhao felt like "being part of a family." The film’s emotional weight comes from this authenticity. It’s not about big dramatic moments-it’s about small, quiet truths. That’s why Nomadland won three Oscars, including Best Picture and Best Director. It proved that real stories, told simply, can move the world.
Challenges and Criticisms
Not everyone loves Zhao’s style. Some critics say her films are too slow or lack clear plots. They argue that without traditional drama, the stories feel aimless. But Zhao defends her approach. She believes life isn’t always dramatic-it’s often quiet, messy, and unpredictable. "Why force a story into a box?" she once said. "Real life doesn’t follow three-act structures."
Practical challenges also exist. Working with non-actors means no rehearsals, no script changes. For The Rider, Brady Jandreau’s family had to trust Zhao completely. They shared deeply personal moments, like his recovery from a brain injury. This required immense trust. Budget constraints were another hurdle. Nomadland’s $4 million budget was modest for a feature film, but Zhao stretched it by using real locations and people. This meant no elaborate sets, no CGI. Just raw, real-world storytelling.
Why Chloé Zhao’s Approach Matters Today
In an age of CGI blockbusters and formulaic storytelling, Zhao’s work is a breath of fresh air. She shows that powerful stories don’t need big budgets or famous actors. They just need truth. Her films inspire other directors to explore simpler, more authentic ways of storytelling. For example, filmmakers like Kelly Reichardt and Sean Baker have cited Zhao as an influence. They’re also using non-actors and real locations to create intimate, human-centered stories.
Her success at the Oscars-becoming the first woman of color to win Best Director-proves this style has mainstream appeal. It’s not just for indie film lovers. It’s for anyone who wants to see real people, real places, and real emotions on screen. In a world obsessed with spectacle, Zhao reminds us that the most profound stories often come from the quietest moments.
What is Chloé Zhao’s naturalism?
Chloé Zhao’s naturalism is a filmmaking style that blends documentary techniques with fictional narratives. She uses real people instead of actors, films in authentic locations, and avoids scripts or rehearsals. This approach creates raw, emotionally truthful stories that feel more real than polished Hollywood productions.
How does Chloé Zhao find non-actors for her films?
Zhao often finds non-actors through personal connections and community engagement. For The Rider, she met Brady Jandreau at a rodeo and built trust over time. For Nomadland, she lived with real nomads in RV parks, listening to their stories before casting them. She doesn’t hold auditions-she builds relationships and lets people share their lives naturally.
Why does Chloé Zhao use real landscapes instead of sets?
Real landscapes add authenticity and emotional depth. In Nomadland, the American West isn’t just a setting-it shapes the characters’ lives. Dust, sunsets, and open roads reflect their struggles and resilience. Sets can’t replicate this rawness. Zhao believes the environment should be part of the story, not just a backdrop.
What challenges did Chloé Zhao face with non-actors?
Working with non-actors requires immense trust and patience. For The Rider, Brady Jandreau had to relive his real-life brain injury on camera. There were no rehearsals, so every moment was spontaneous. Budget constraints also meant no time for reshoots. Zhao had to capture everything in one take, which was risky but resulted in truly authentic performances.
How does Chloé Zhao’s background influence her style?
Zhao studied anthropology at NYU, which shaped her focus on human experiences. She approaches filmmaking like an anthropologist-observing real cultures without judgment. Her Chinese-American identity also gives her a unique perspective on identity and belonging, which shows in films like Nomadland. This background helps her tell stories that feel universal yet deeply personal.
