The Poetry of Patience
In an era of blockbusters defined by rapid-fire cuts and plot-driven expediency, Chloé Zhao’s films feel like they operate on a different temporal plane. As the writer, director, and often editor of her own work, Zhao has championed a style rooted in patience.
Her editing, especially in films like The Rider and the Oscar-winning Nomadland, rejects the frantic pace of modern Hollywood. Instead of quick cuts designed to propel a narrative forward, she favors long, observational takes. Scenes are allowed to unfold in what feels like real-time, inviting the audience to inhabit a moment rather than just consume a plot point. This approach is often described as a “free-flow form of editing,” where the camera lingers on a character’s face or the vast landscape, letting emotion and atmosphere take precedence over action. The effect is immersive and meditative, asking viewers to find meaning not in what happens next, but in the quiet truth of what is happening now.
Editing for Authenticity, Not Plot
Much of the power in Zhao’s filmmaking comes from her signature blend of fiction and documentary. She frequently casts non-professional actors to play versions of themselves, a choice that profoundly impacts her editing. In Nomadland, conversations between Frances McDormand’s Fern and real-life nomads feel unscripted and raw because they largely are. Zhao’s editing honors this authenticity. Rather than cutting away to a reaction shot or a different angle to heighten drama, the camera will often hold on a single person as they share their story. This technique, reminiscent of cinema verité, makes the audience feel less like a spectator and more like a participant in an intimate conversation. The story is guided by emotion and human connection, not by structured plot points. By prioritizing the lived experiences of her subjects, Zhao’s editing constructs a narrative from genuine moments of vulnerability and reflection, creating a powerful sense of realism.
The Rhythm of the Landscape
In a Zhao film, the American West is more than a backdrop; it’s a character with its own rhythm. Her collaboration with cinematographer Joshua James Richards is famous for its use of natural light, particularly during the “magic hour” of dawn and dusk. The editing is intrinsically linked to this visual strategy. The cuts don’t just pace the human drama; they follow the tempo of the natural world. Long, sweeping shots of the Badlands or a desert vista are not just establishing shots but core thematic statements. The editing lingers on these images, allowing the grandeur and melancholy of the landscape to seep into the story. This creates a contemplative mood, visually expressing the characters' feelings of solitude, freedom, or insignificance against the vastness of nature. The pace is deliberate, mirroring the slow crawl of a van across the plains or the gentle shift of light across a canyon, making the environment an active participant in the film's emotional journey.
A Quiet Influence in a Loud Industry
While it would be an overstatement to say that Hollywood has broadly adopted Zhao’s contemplative style, her impact has been significant. Winning Best Director and Best Picture for Nomadland gave mainstream validation to a form of filmmaking that stands in direct opposition to commercial trends. Her success provided a powerful counter-narrative, proving that a quiet, patient, and humanistic film could achieve the industry's highest honors. Her influence is most felt in the independent film world, where she inspires filmmakers to trust their audience, embrace smaller-scale storytelling, and find drama in authenticity rather than artifice. Even her foray into the Marvel Cinematic Universe with Eternals carried traces of her signature style, with its use of on-location shooting and a more patient, visually-oriented pace than is typical for the genre. Zhao’s contribution isn't about creating a new, dominant editing template, but about powerfully reminding American cinema of the beauty and impact of slowing down.
