There’s more to the scope of Dunn’s film than just a willingness to talk to more conventional farmers, however. The entire film is deeply concerned with the life of Henry County. Dunn and her cinematographer Lee Daniel were in the area for all four seasons and so we see the same places throughout the year and walk the same trails in fall, winter, spring, and summer. So the fact of the land, the trees, the river, the wildlife, and so on is never far from your mind as you watch the movie.
We also see children from the community, hear Dunn interview some migrant workers who now do much of the manual labor on the farms themselves, and, through the interviews with older residents, hear about some of the departed citizens of Henry County who did their part to sustain the place and it’s unique way of life.
The primary wood carving used in the film’s promotional images also gestures toward the expansiveness of Dunn’s vision of the place. It also sums up Berry marvelously—we see Berry’s back to us and, through him, we see the land. This is one of the chief strengths of the film. When you first hear that Berry doesn’t actually appear in the film at all, it’d be easy to wonder what the film is about if the subject is never filmed, but in this case the result is likely more faithful to who Berry is than a conventional biopic could ever be.
Read the whole review by Jake Meador at Christ the Morning Star.