Review of The Florida Project (2017) by Glenn G — 22 Oct 2017

ORLANDO BLOOMS - My Review of THE FLORIDA PROJECT (5 Stars).

Move aside A QUIET PASSION, BATTLE OF THE SEXES, and the non-boring parts of BLADE RUNNER 2049, there's no question I've seen the year's best film, and it's a tiny indie called THE FLORIDA PROJECT. From the team who brought us the incredible TANGERINE (writer/director Sean Baker and co-writer Chris Bergoch) comes this neorealist look at the "hidden homeless" of Orlando that sits gloriously between Richard Linklater (BOYHOOD) and Andrea Arnold (AMERICAN HONEY) with a generous dollop of Vittorio De Sica (BICYCLE THIEVES). What sets this film apart from its influences is a wonderful sense of humor, fantastic use of rich colors, and the remarkable ability to go from laughter to tears with jaw-dropping confidence.

Additionally, the trio of lead performances by Bria Vinaite, Brooklynn Prince, and Willem Dafoe sets the bar very high for the most stunningly naturalistic, galvanizing film performances of 2017. Have I made it clear that I loved loved loved this movie? No? Then let me continue...

THE FLORIDA PROJECT, although scripted, takes a cinéma vérité approach as it traces the summer of a mother and daughter at a cheap motel in the shadow of Disneyworld. The film's name sounds like a working title until you realize that Walt Disney referred to his Orlando theme park as such, and it also serves as a double entendre for the projects-like quality of the motels. It's here where we meet 6-year-old Moonee (Prince), a brazen, effusive child who along with her buddies, hocks huge spitballs from her balcony down at the hood of a car. When caught by its owner who marches over to report the children, we meet Halley (Vinaite), Moonee's inked-up, middle-finger pointing, reckless young mom. It's not difficult to see where Moonee gets her personality traits from, and as awful as Halley is throughout the film, this early scene endears us to her. She may be dangerous, disrespectful and a total user of people, but Halley also knows how to charmingly work things out with the offended car owner. [Incredible side note: Vinaite was discovered by the filmmakers on Instagram. This is her first film. Wow!] We carry this interaction for the rest of the story knowing that both Halley and Moonee have a warped sort of dynamic charm to spare. They may fuck you over, but you'll still probably find yourself laughing as its done.

That's certainly the approach taken by the motel manager Bobby (Dafoe). Despite appearing to be totally over the mother/daughter antics, you can still see genuine caring and affection towards them. It's a tricky role, but Dafoe really rises to the occasion. He's never been this pure and commanding. There's a fantastically dread-filled sequence in which Bobby confronts a potential child molester. His fearless protection of the kids in his building beautifully conveys the kind heart beneath the gruff exterior. Much of the time, he's confronting Halley about her late rent payments, or putting out fires (almost literally) every time the children get involved in things they shouldn't.

Despite the lack of a traditional storyline, the scenes build and build naturally. Told from the point of view of Moonee, we witness a girl enjoying the hell out of what could be a very bad situation. Her mom, who has no money, scams strangers by selling cheap perfume on the streets or turns tricks in her bed while Moonee bathes. Halley has worked as a stripper and hopes to join her best friend, who works at a local diner, but she seems to self-sabotage. Any random line of dialogue out of her mouth shows us how she can be her own worst enemy. She's quick to start swearing when she doesn't get her way, or worse still, she won't hesitate to violently punch someone out. She's so hardened by the world, that she knows she can never count on anyone but herself, so she almost deliberately pushes everyone away. Prince and DeFoe are likely to get awards attention for their performances, and rightly so, but Vinaite is right up there with them with her highly relevant portrayal of a poor, single mother trying to survive from day to day.

Despite the drab subject matter, THE FLORIDA PROJECT, helped immeasurably by cinematographer Alexis Zabe, explodes with rich, warm colors. Things may be trashy and dire, but little Moonee lives in a world of oranges and reds and purples. She spends her days begging for change so she can share an ice cream with her pals, or they trespass on private property and create all sorts of mayhem. At the Q&A I attended, Sean Baker compared Moonee and her friends to the OUR GANG group or THE LITTLE RASCALS. It's these comedic leanings that keep this film from dipping over into utter despair. Whereas the films of Ken Loach would lean in on the angst, Baker chooses to emphasize the fantastical joy. Moonee may feel a charge from the amoral, illegal happenings, but what she really values are her tight friendships. You'll find yourself wanting to call Child Protective Services on Halley while simultaneously hoping they can manage to wriggle their way out of it. Shades of PAPER MOON there.

Rather than adhering to a traditional three act structure, the film moves vigorously forward with an inevitability and a mounting sense of dread. Everything just makes sense. You feel the desperation and the admirable coping mechanisms used to survive. We're living in a time where many people haven't bounced back from the economic crisis of 2008. They're living hand-to-mouth in their cars, on the streets, and the lucky ones live week-to-week in these flea bags. It's easy to dismiss this crowd as white trash, racist Florida Trump supporters. THE FLORIDA PROJECT gives them humanity, joy, humor right alongside the violence, bad decisions, and hopelessness. Isn't that something we can all relate to?

I enjoyed every second of this journey, but I definitely wasn't prepared for the total knockout of its third act. Without spoiling anything, we see Moonee's mood change on a dime to blurt out one of the most impressive child speeches I've ever seen on film. You would have to be dead inside not to cry along with her. Baker and Bergoch maintain that the screenplay for the film was very carefully laid out. Everyone had to remember their lines, but there was too left for improvisation. In watching the film, you will swear that it's a documentary. There isn't a false note to be had, which is even more impressive considering the film's success relies on the capabilities of a six year old.

Lucky for us, she's not the only actor to totally deliver. In a startling, extreme close-up, we see Halley's final primal scream, and in that instance, this supposed monster of a mother makes more sense than everyone else. You may hate her, but you'll admire the fight in her.

All of this is followed by a delirious scene (captured on iPhones....a nod to TANGERINE?) which takes us to an unexpected and emotionally satisfying place. Some may feel left out in the cold by the ending, but, for me, it allowed these characters to live on in your imagination. I can't shake them. I can't shake the movie either, and I don't want to. It's a masterpiece.