The German director Wim Wenders has been a loyal, sometimes baffled friend of America for a long time. His view of American landscapes and folkways is often romantic and always affectionate, perhaps never more so than in "Land of Plenty," a feature he shot on digital video in 16 days in 2003. Taking up the divided, anxious state of post-9/11 American life, "Land of Plenty," which Mr. Wenders conceived with Scott Derrickson and wrote with Michael Meredith, is like a clumsy, well-meaning intervention in a family quarrel. Scrambling the easy polarities of left and right, red state and blue, he urges us to love one another as much as we love the beautiful country we uneasily and contentiously share. "Land of Plenty" does not avoid sentimentality. On the contrary, it insists that expressions of caring and sympathy, even if they risk mawkishness, are the best available antidotes to hatred and intolerance. It is as hard to argue with this idea as it is wholeheartedly to believe it completely.