Following a traumatic event, Edith "Edee" Holzer (ROBIN WRIGHT) has decided to chuck everything and everyone related to her past life and move to the Wyoming wilderness. Buying a long-abandoned rustic cabin and selling her vehicle, she plans on living out her days there, with no interaction with other people and no idea of what's happening in the rest of the world. But when winter comes and a bear ransacks the cabin and her food supply, things look dire.

Fortunately for her, a stranger, Miguel (DEMIÁN BICHIR), finds her nearly frozen to death and with the help of a nurse, Alawa (SARAH DAWN PLEDGE), saves her life. The two then strike up an unusual friendship with only occasional visits and Miguel teaching Edee how to live alone in the wilderness. As she does so, she starts to come to grips with that past trauma.

Sometimes, and for any number of reasons big or small, you just want to get away from it all. Calgon knew that back in the 1970s with their TV commercial featuring a harried homemaker where the dialogue went like this:

Harried Woman: "The traffic. The boss. The baby. The dog. That does it! Calgon, take me away."

Soothing Narrator: "Lose your cares in the luxury of a Calgon bath. Calgon softens the water to leave skin silky smooth as it lifts your spirits. The soft, luxurious, fragrant world of Calgon. Pamper yourself with a Calgon bath. Lose yourself in luxury."

Of course, baths can only take you so far -- literally just to the bathroom -- and only for so long. Sometimes you need something further away and of a longer duration. Edith "Edee" Holzer is of that mindset, although her desire to get away stems from something far greater than cars, bosses, kids, and pets. And it's certainly about as far removed from a luxury Calgon bath as one can get.

Edee's the protagonist played by Robin Wright in the dramatic offering "Land" and she's decided -- for reasons occasionally hinted at and eventually later revealed -- to chuck her entire life and move to a remote mountaintop cabin in the woods of Wyoming with no electricity, no water, and no means of transportation beyond her two feet. And -- most importantly to her -- no contact with the outside world, especially other people.

After all, and like she reminds the therapist she visits in the opening scene, they want her to be better, and that doesn't sit well with her. Accordingly, and after tossing her cell phone into the trash and visiting the local real estate agent, she moves into the decidedly rustic and definitely long-abandoned cabin with some cans of food and a printed "how to survive in the wilderness" publication.

But then reality sets in -- specifically the cold, followed by a visit from a hungry bear, and memories (or hallucinations) of the past she's trying to live out now but also forget -- and her world comes tumbling down, nearly losing her life not only to the elements, but also her own hand.

She ends up saved and nursed back to life by a stranger, Miguel (Demian Bichir), who honors her desire to live the way she wants and to not be a habitual visitor. And that's about it in this well-acted, beautifully photographed drama on which Wright -- working from a screenplay by Jesse Chatham and Erin Dignam -- cuts her directorial teeth.

It might be too slow, fairly sparse in terms of plot, and not as emotionally developed for some viewers (and critics), but I found it engaging and heartbreaking at times, grounded by Wright's work in front of and behind the camera. If anything, it might evoke a desire to get away from it all and -- to quote another part of my TV childhood -- start singing "Land spreadin' out so far and wide. Keep Manhattan, just give me that countryside." "Land rates" as a 6.5 out of 10.