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In the main hall of the Lantern, a retirement home in Ohio’s Chagrin valley, the ceiling consists of glass panels painted to resemble blue skies. The chirping of birds wafts through the corridors, styled after the front porches of typical mid-century houses, except these are all indoors. Like the lighted roof, the sounds of nature are entirely artificial. For the residents of this care facility, such designs seek to inspire feelings of calm and familiarity, yet they also induce an atmosphere of uncanniness. Exploring the parallel worlds of the inhabitants and their caregivers, Nathalie Berger’s observational documentary finds real love and care in this strange simulacrum of home.

Captured in static vignettes, life at the Lantern appears quite tranquil. The retirees live together in a kind of resigned harmony. Some are bewildered as to why they are in a care home; others are confused about where they are. The temporary moments of crisis are framed with a sobering matter-of-factness, laying bare the inhabitants’ quiet turmoil.

Unlike the residents, the care staff largely comprises Black women. Berger studies this contrast without didacticism, emphasising instead the subtle chasm of racial and socioeconomic hierarchy. While the architecture of the facility aims to reproduce the outside world, the film uncovers the invisible labour that underpins the running of the institution. From the changing of sheets to the holding of hands, the custodians provide physical as well as mental support. Their care work also extends beyond the Lantern; at home, they tend to their children, relatives and other loved ones. In juxtaposing these different viewpoints surrounding labour and rest, Berger’s film transforms the Lantern into a microcosm of American life.

• Chagrin Valley is on True Story from 17 April.