When you hear terms such as “off the land” and “off grid” and picture what they mean, you might think of withdrawn, unsociable people who don’t contribute meaningfully to society. Jordan Osmond’s documentary The New Peasants proves this negative reputation is ill-earned through the intimate following of a family who has spent twenty years on a mission of simplicity. Meg and her partner Patrick are self-professed “new peasants”, and they live as outside the traditional industrial food network as possible with their sons, Woody and Zephyr, in Daylesford, Australia.
Their ”new peasants” self-designation comes from the notion that Meg’s and Patrick’s ancestors were peasants who lived frugally and sustainably by their own labor. Their objective is to maintain this connection to their ancestors and the earth by living season to season on (and in care of) the forest’s natural riches. It’s an agricultural movement that’s being discussed more frequently since the COVID-19 pandemic.
While Meg works two days a week in town, Patrick stays at home full-time and they homeschool Woody. They host informative workshops on their lifestyle for kids and adults as well. Meg talks articulately about the superficiality of what were deemed “skills” in her former life, such as sending emails, writing press releases, filling out spreadsheets, and her lack of practical knowledge; she explains that she’s tapped into the relationship between herself and the food she grows and prepares and consumes and details its conscientious difference from the industrial food system. The family genuinely lives off the land (raising livestock, hunting, growing, foraging, preserving) but they primarily live through the trading economy and their consistent access to firewood, which fuels “the heart” of their home, i.e., the stove.
Though discussions in the film occasionally wade into more controversial topics, like government infrastructure, germ theory, consuming roadkill, bathing outside, and having binary gendered focus groups, the film doesn’t venture too deeply into any single area.
Osmond has portrayed a beauty-filled existence with this film, and informs the viewer that there are many ways to live and this is one possibility. There isn’t a sense of superiority, disrespect, or arrogance on the part of the family, but a joyful show and tell. Far from the off-grid, reserved stereotype, they are community-driven people who love the land and have reconnected with their peasantry roots. Four stars. Would recommend.
Which public library audiences would benefit from screening The New Peasants?
This film’s themes of low-waste, low-consumerism and environmental consciousness make it an excellent candidate for public library film programming at any time of year but particularly in April for the arrival of spring and Earth Day. As Meg demonstrates in the film, practical life skills are beneficial to everyone, and community screenings of this film could spark a curiosity over ways to create less waste and live more sustainability, like reducing gas usage or planting a garden.
What academic subjects or media education courses would benefit from this film?
In The New Peasants, Academic librarians would have a film to offer both high school and university-level departments and courses. The ecological sustainability practices in the film are perfect for environmental science, ecology, and forestry courses. Their methods of farming, forest stewardship, and discussions of the industrial food system make it a great fit for units on food and agricultural studies. Additionally, facets of the family’s way of life can be explored in discussions and projects focused in politics, social issues, capitalism, and materialism, and minimalism.
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