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In the domain of cinema, the latest example of such “classism” is Nomadland (Chloe Zhao, 2020) which portrays the daily lives of our “nomadic proletarians,” workers without a permanent home who live in trailers and wander around from one temporary job to another. They are shown as decent people, full of spontaneous goodness and solidarity with each other, inhabiting their own world of small customs and rituals, enjoying their modest happiness (even the occasional work in an Amazon packaging center goes quite well . . . ). That’s how our hegemonic ideology likes to see workers—no wonder the movie was the big winner of the last Oscars. Although the lives depicted are rather miserable, we are bribed into enjoying the movie with the charming details of the workers’ specific way of life, the underlying message being: enjoy being a nomadic proletarian!
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