The Florida Project

Las penas y alegrías de la gente corriente de la Florida de un edificio de apartamentos / motel de color púrpura de algún lugar por Orlando. Un gran paso adelante desde Tangerine, gracias a la percepción fantásticamente concebida de la vida a través de los ojos de los niños. No es sólo la capacidad de jugar que aportan al retrato del ser difícil de los adultos socialmente más débiles, es sobre todo la capacidad del director para sentir con tanta precisión y armonía la vida colorida y poética de dos mundos emocionalmente diferentes. Aquí se deberían repartir las nominaciones para actores: Excelente Willem Dafoe como gerente responsable del edificio; la sorprendente no actriz Bria Vinaite como madre problemática, y especialmente la pequeña Brooklynn Prince, ¡como el personaje infantil principal! Sus lágrimas son la culminación de la película y el momento más fuerte de la actuación infantil en mucho tiempo (¿desde Osment de Shyamalan?). Piense en toda la conclusión como una metáfora: las vacaciones en Florida, con sus hermosas playas y parques de diversiones, son un paraíso en la tierra para los niños estadounidenses. Una película personal y bellamente rodada con un gran corazón que late salvajemente. Estaba considerando la quinta estrella. (25.05.2017)

Trestuhodné, cómo esta película no recibió más nominaciones al Óscar. No sorprende que sea más reconocida y aclamada en Francia que en cualquier otro lugar. Triste realidad, actuaciones magistrales de debutantes y del experimentado Willem Dafoe, y una excelente cámara. Así es como me imagino que debería ser un drama social sin adornos, violencia o escenas naturalistas innecesarias, que de otra manera no me molestan. Una de las mejores películas del año 2017. (27.02.2018)

The Florida Project is based on the conflict between children’s perspective and that of adults, between two completely different worlds existing in parallel. Baker employed this conflict as the guiding element of the film’s narrative. The permeation of “adult” problems into the guileless reality of childhood creates dramatic tension, advances the plot and rhythmises the narrative. The micro-stories of adults mostly lie at the edge of interest, which corresponds to the dominant children’s point of view. However, we are sufficiently familiar with the adults’ problems to comprehend the characters’ motivations and the plot twists. ___ The stylisation of the picture also corresponds to the children’s point of view. Realistic scenes, in which the camerawork mimics the low-placed children’s view of the world in an effort to keep pace with the young actors, are interspersed with carefully composed static shots that with their colours are reminiscent of pop art. Bold colours, signs such as “Magic Castle”, “Futureland” and “Seven Dwarfs Ln.” and unusual locations transform the devastated surroundings of the amusement park into one big playground, as it is also perceived and used by the children, who have created their own magical world, which is not sustainable in the long run, and the larger the cracks that appear in it, the less the adults are able to keep their kids under the illusion that everything is going to be okay. ___ The energetic style of the film contrasts with the hopelessness of the situation in which the young female protagonist is trapped with her mother. Due to the intrusions of social drama into the magical children’s adventure, however, the film manages to avoid sentimentality, falseness and romanticisation of the characters’ misery. After all, that is not what Baker intended the film’s central them to be. He is rather particularly interested in the ability to adapt to a certain environment and the related building of one’s own magic kingdom as a means of self-preservation. ___ Instead of creating artificial dramas, Baker allows events to flow seemingly freely. However, minor misunderstandings are wrapped up in other events, separate episodes are composed in a layered form, and the story, adhering to the traditional three-act structure despite the seeming dramaturgical laxity, speeds inexorably toward the cathartic climax. The great final drama derives from a number of smaller conflicts that the narrative at least touched on previously. ___ The Florida Project manages to point out problems that need to be solved without overstating them or sugar-coating them with the small joys of life, or misusing them for emotional blackmail. This is a pleasantly matter-of-fact, compassionate and sincere approach, captivatingly magical and realistic, which, in addition to sorrow, also offers joy and arouses the desire to start doing something. 90% (28.03.2018)

It’s been few days after the screening and I'm still thinking about this film. It's an incredibly "colorful" film, not only because of the camera, which captures the garishly colored architecture on the suburbs of Florida with gusto, but also in terms of feeling. An emotional roller-coaster ride with an almost infectious energy that mixes endless sadness with the happiness and naivety of young children and their parents from the margins of society, who – even though their lives are awful – can rejoice in the little things. On the one hand, it's a pretty depressing experience (you wouldn't want to be in the shoes of that mom), but it always makes up for it with the guileless child's view of the world, who doesn't worry about anything and enjoys what little life brings. The film doesn't make you feel depressed about your messed-up life, but rather caresses you, thanks to Willem Dafoe, who is a tough hotel manager, but a fair, straight man with protective instincts (brilliant scene with the paedophile!), to whom you would entrust your children with a calm heart, or go out for a beer with. His performance is so brilliant that his character doesn't devolve into a caricature of his goodness, but you actually believe that such people exist among us. American indie films are often cursed with a sense of authenticity, but you can always sort of see that they're just playing at it. Not this one, though, this one is authentic to the bone. This is the true portrait of people on the fringes of American society, who are called "white trash", this is the "real America", where Disneyland is shown off with its own opulence, so that only two streets away, the losers live in a cheap hotel, but they don't complain about their fate. The character of junkie mom Halley, in a remarkable creation by non-actress Bria Vinaite (the director found her on Facebook), is so above it all and so cool, in fact, that it's almost infectious. And the daughter played by Brooklyn Prince? I've seen all the films of Tomáš Holý, Haley Joel Osment and other great child actors, but Brooklyn leaves them in the dust with her brilliantly immediate acting! I just.... missed the movie so much that I had to watch it again after two weeks. All 165 (!!) festival award nominations, collected from all over the world, are well deserved. (26.03.2018)

It didn’t sit well with me how the children told the story. It felt as if I packed a camera, flew to Florida, chose the motel closest to the airport in Orlando and sat there documenting what was happening around. I understand that was the intention of the movie but it simply wasn’t interesting to me. (18.01.2019)