She is not cut in to the water gun armed robbery that pays for the trip.Īnd then, when things begin to get really weird and creepy - when the shining beacon of James Franco’s Alien grill bails them out of jail and introduces them to his self-proclaimed gangsta world - Faith leaves. She, it seems, is our point of identification, our safe harbor amidst the impending chaos and sin of her so-called friends. Just as Malick uses delirium to have the story of Pocahontas drift sideways, Korine deploys delirium to send the story in a different direction, into different stories: from teen party to Scarface gangster to love.įor much of the first part of the movie, we are privy to Faith, the Selena Gomez character, a good girl who goes to church but also wants a different life elsewhere. It is an experience.īut it does not abandon a tale all together - this is not Gummo. These moves let us know that this is not a linear story of character progression, not a tall tale or fairy tale. We hear words and see scenes but only sometimes are the two in sync. The movie conspicuously folds time with flickers of foreshadow and snippets of conversation that repeat throughout. No, it’s not the sweetness of flesh but the confection of the image. This is not an exploitation film per se you will not get a hard on. Delirium inflects narrative, flow, and viewer identification leaving us nearly bludgeoned with a nasty beautiful pop sugar coma.īut it’s not the sweet coma of girls in bikinis. Here, Korine takes up the storyline and slurs it, sloshes it about, before making it bend in whole new ways. Harmony Korine is not the only delirious filmmaker - Terence Malick, of course, but also Cassavetes and Gaspar Noé, among others. Spring Breakers is film as delirium, a relentless barrage of images precariously connected to the things we know too well such as dialogue, character, and story. This is not your feel good, or even feel bad, movie. That was just a ruse to get in the front door of Hollywood: I’ll look like them but I’ll do something completely different.
But this is a shell and, finally, a dupe. The time codes and filenames will not appear in the final film, nor will it be in the style of a found-footage movie.The set up is familiar: good girls flirt with bad, get in over their heads, learn a lesson - with some boobs and teen exploitation along the way. distributor, A24, confirms that the “leaked” teaser above was an unfinished version.
Update, March 11, 2013: There won’t be any found-footage Sofia Coppola movie after all. The choice does make some thematic sense: As one lawyer put it, the Bling Ring seemed to enjoy the cameras. We can’t be sure whether the time codes will run throughout the movie, as they do here. Of course, it’s hard to imagine how some of these shots could have been caught on tape, as is so often the case with these films, and surely many moviegoers are tired of this trope. The teaser also hints at a possible surprise in Coppola’s approach: If we’re to trust the file names and time codes running along the bottom of the screen, it’s all found footage, just like so many recent horror movies, cop movies, superhero movies, and even another teensploitation film. Plus, as one lawyer put it, these criminals looked “like the cast of Twilight.” After their scores, they’d hit up Hollywood clubs like Le Deux and Miyagi’s, just as we see in the teaser above. As if that wasn’t enough, the teen thieves used sites like TMZ and to scope out celebrities’ homes. Soon others-including Lindsay Lohan, Megan Fox, Orlando Bloom, and Ashley Tisdale (the villain of High School Musical)-also reported that their houses had been burgled, leaving them short of hundreds of thousands of dollars in luxury goods. (The story of the “Bling Ring” also became a Lifetime movie in 2011.) In 2008, Paris Hilton’s home was robbed of $2 million in jewelry, cash, and clothes. It’s also based on a true story, one that even the New York Times noted was bound for a movie adaptation from the beginning.
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