Next up on this film journey to retain sanity is The Florida Project, directed by Sean Baker and starring Brooklynn Prince, Willem Dafoe, and Bria Vinaite. A gripping tale of childhood innocence, we follow the life of Moonee (Prince) as she plays with her friends (played by Christopher Rivera, Aiden Malik, and Valeria Cotto) in the seedy 192 corridor on the edge of Walt Disney World. Brilliantly shot, directed, and acted, I can see why it received so much attention from critics.
I grew up in Orlando, so seeing 192 be portrayed in such fashion is all at once nostalgic, heartbreaking, and accurate. I chose this film as I told my friend Catie about this “quarantine project” of mine, and as we both know Florida and the Disney area well, it became clear we should watch it simultaneously and discuss via FaceTime. At the time of writing, this one is on Amazon Prime Video!
The story and exposition is masterfully told, with most of the background shown, rather than told. We learn more about Moonee’s mother Halley (masterfully played by Bria Vinaite) not through discussion but by action. We see the lack of parenting skill, but we also see the struggles the family faces and the choices made to both pull them out of poverty and keep them in that same spot. We see the motel manager Bobby (Willem Dafoe) be both stern and compassionate, striving to be kind in a unkind and thankless job. We see the kids be kids, a refreshing change in the way children are portrayed and often simply used as plot devices. The story, seen through the kids’ perspective, often misses bits of explanation adults would demand but the audience fills in as we continue to learn about their world.
Every performance is gripping. I found to harbor an intense dislike for Halley as the story progressed, but even the most challenging circumstances leave you seeking relief for her pain. Vinaite does a brilliant job going toe to toe with Willem Dafoe and refusing to cede ground in their performances. Dafoe continues to show his masterful craft, but one particular segment of the film meeting a thirsty passerby is a riveting piece of acting. And all the kids, especially Prince, live onscreen unlike any other kids I’ve ever seen on film. They play, act out, explore, cause trouble, and rely on their parents; these moments remind me of To Kill a Mockingbird and anchor the story.
Direction, editing and photography is nothing short of brilliant. “Show, don’t tell” is heavily applied throughout the film and lends to a masterful execution of the script and acting beats. The vast majority of the film is shot from the height and perspective of the kids: as a result, the viewer is often looking up at the world just as a six year old does. Even establishing shots take on this perspective, leading to beautiful scenes with some of the most god awful buildings ever made by man featured front and center. The wizard building and the killer whale gift shop are both hilariously nostalgic to see again, and probably explain more about why I’m comfortable in a city where an entire fake Eiffel Tower, NYC, circus tent, and medieval castle are nestled next to each other. The entire film is color graded in these vibrant tones that fully capture the gaudy colors of road signage, the greys of the moss on the old green cypress tree, and the beautiful Florida sunsets that are unique in the country.
I’ve be remiss if I didn’t mention the audio work done in this film. The overbearing rustle of cicadas. The deafening whirl of the choppers. The kids playing with the fan blades. The music or the television blocking out what the adults may be involved in. The entire sound team did a remarkable job capturing and mixing a beautiful film and really adding not only atmosphere, but plot mechanics within their scope.
The script masterfully plays the line between objectively funny moments and significantly terrifying or heartbreaking beats. Sometimes, it happens simultaneously, such as the scene where the kids discuss two new guests in the lobby. Moonee, observing from outside, tells her friend proudly “I can always tell when adults are about to cry.” Prince’s delivery is upbeat and triumphant, but the weight of the statement carries so much trauma and sadness. The movie is filled with such moments that evoke wonder, sadness, and joy.
While a movie to experience, the topics touched on carry such weight I wouldn’t want to watch as a Saturday night filler. However, I would certainly watch this again as there’s so many great moments and achievements captured on film that I’d be heartbroken to NOT watch it. The ultimate message of joy and wonder despite circumstances and challenges resonates with me, and arguably with anyone who does commit to sitting through the pacing.
Rating 5/5
Would certainly watch again.
This review is part of the CoronaReviews, a series of quick reviews I’m going to write to stay sane while I wait for the COVID-19 shutdowns to end. I’ve got a long list of films I desperately need to catch up on, but if you have suggestions or commentary, comment below! I’d love to discuss it with you so I don’t lose my mind here by myself.