The intersecting stories of twenty-four characters—from country star to wannabe to reporter to waitress—connect to the music business in Nashville, Tennessee.
[Nashville] captured the Ford administration’s blankness in its device of the faceless presidential candidate Hal Phillip Walker. In a movie filled with two dozen vivid, larger-than-life protagonists, the always campaigning yet rarely seen Walker, whose campaign is represented by an always cruising sound truck, functions as a sort of structuring absence.
— Adam Nayman (The Ringer)
