Love song rating plus#

There are broader, indirect suggestions made by Walker-Silverman’s screenplay that gesture toward insights about the nature of solitude and believing that, no matter one’s stage in life, things can be reformed in significant ways. But it’s finally the arrival of Lito (Wes Studi) that puts the film’s wheels into motion, as it becomes clear that he’s either an ex-lover or a potential future lover who can bring greater meaning to Faye’s life.Īs the title indicates, the love angle becomes the narrative’s focus, but it’s altogether unconvincing as anything other than an admittedly welcome excuse to let Dickey and Studi share a lovely series of scenes together that slowly reveal and define the nature of their characters’ relationship.

Love song rating plus#

These activities are punctuated by a smattering of visitors, which include a largely silent group of men, accompanied by a young girl, looking to exhume the remains of their dead father, plus a pair of women who keep Faye company one evening. But rather than integrating social commentary on late capitalism and what it means to live life at a remove from middle-class stability as in Chloé Zhao’s film, Walker-Silverman focuses on the minutiae of solitude, observing Faye as she reads books on birding, goes fishing, and looks out onto the horizon from her trailer home. Set on a rural Colorado campground and charting the idle life of Faye (Dale Dickey), a sixtysomething woman living off the grid and waiting for the arrival of an unknown person, writer-director Max Walker-Silverman’s A Love Song plays like a tamped-down version of Nomadland.