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This is exactly the TYPE of movie I feel we need more of now, so I really wanted to like it, but sometimes that is not enough. I was originally drawn to this film by mere way of its casting and a few blurbs I'd read about it, making it out to be some indie wonder. The tastefully selected cast is primarily made up of actors who have broken through more recently like Ayo Edebiri and Jacob Elordi, obscure pseudo-celebs like Gibby Haynes and Andy Milonakis, transgressive underground NYC filmmakers like Betsey Brown and her brother Peter Vack, and no-names, and that alone spoke volumes to me.

When I started watching the movie, I discovered that it was directed by the DP of Good Time, one of my favorite movies of this entire century. With the tone and pacing of the first 15 minutes, I really thought I was going to love this movie. It moves quickly, barreling through people and places, almost faster than you can keep up with as a first-time viewer. The style of cinematography has a certain raw value reminiscent of 90's/2000's stalwarts like Harmony Korine or Larry Clark, or more modern films that also channel that energy like the wonderful American Honey. There is value in the believability of youth that is portrayed in this film's early segments - the true energy of college age kids going wild together is captured. Then, we hit the opening credits, which are also mystifying in their own way. Lead actress Talia Ryder lip syncs to a whimsical fairy-tale esque ballad while gazing at herself in the mirror - it is then that it becomes clear that Ryder will be the focus of the film, and it doesn't seem like a bad thing as she is gorgeous.

However, things change after the title card. The pace slows down to more of a butter churn for most of the remainder of the film, and the structure shifts into a rather familiar, and in this case, somewhat redundant, and aimless one. "She's on an aimless adventure and everyone wants her", would be the easiest way of summing it up. This is a structure I've seen so many times before, but most of the other ones I've consumed had a lot more meat on their bones. Talia Ryder is angelic, looks like a model in the most traditional sense, and is totally likable, but her character has more arc and depth in the first 15 minutes then she does throughout the entire rest of the movie, so sadly, eventually, fixating on her SO MUCH does lose its steam in this case. There's not enough character depth in the writing to justify the infatuation that the camera seems to have with her. More humor really would have helped give this movie wings to fly, but I rarely found it to conjure chuckles or leave you with any memorably witty dialogue. On top of this, half of the male characters who appear all seem to have the exact same personality - they all want to flex obscure historical tales and philosophies endlessly - this is funny for a few minutes but after some time, it's like "ok, yeah, we get it...what else?". Simon Rex is actually the king of this energy in this film, and leaves one of the most lasting impressions, almost returning to the vibe of his most recent celebrated role, Red Rocket, in which he portrays characters with arguably pedophilic tendencies. The rest of the male characters simply portray danger or un-trust, one-dimensionally.

As you could assume based off of the rest of this review, the journey goes nowhere. It only feels more aimless as it goes, and ends extremely abruptly. I really like what they were GOING for with this movie, but I just don't think it adds up to anything at all. Even as a tribute to the east coast in general, as it presents itself to be, it doesn't seem to hold much merit for viewers. It has flashes of brilliance but never more than flashes. Even some of the music choices are especially delightful, like putting a choice Minimal Man song over the ending credits, but those count as flashes.

Of course, I could be wrong, but this feels like the EPITOME of a case where the filmmaker chose Talia Ryder as a muse, and just wanted to make a film revolving around her (hence the "camera's obsession" with her throughout the entire film), yet struggled to find a story with any real purpose, inspiration, or cohesion, and maybe even knew that, but had an opportunity to make a movie with this cast, and did it any way. They also used this as a vehicle to have Ryder say "retarded" as many times as possible - the R-WORD is back, baby! Maybe this will be some magical experience for some teenagers or college-age kids, but as a 40-year-old artist, it left me wanting a lot more.

High school student Lillian (Talia Ryder) and her classmates from South Carolina are on a field trip to Washington, D. C. She sets off on her own to have a series of rambling adventures.

Lillian is the bohemian pixie dream girl, a cousin of the manic pixie dream girl. She's more chilled. She goes on a meandering 70's style journey into outsider America. I'm intrigued by her trip for the first half. She's cute and is that girl. After about an hour, the movie goes off the rails. It does something completely ridiculous. The quirky rambling series of new friends becomes a rather silly random event. At that point, the movie loses me and it never gets me back.

This happened and then this happened and after that this happened.

In 1973, a British movie called O Lucky Man was released with a similar story structure. Namely, a protagonist falls from one improbable situation to another whilst passing commentary on the world around us.

In this movie, all sorts of 'thrilling' adventures befall Taila Ryder as she is led from one implausible situation to the next. An activist, ingenue, actress, thief, prisoner, etc. Until its disappointing climax.

Ryder is good as the nonplussed main character, the script seems largely improvised, the plot doesn't exist and the poor quality film stock and directing style made me want to shower after watching it.

It quite good with some reservations.

I have never been to the east coast of North America but watching a film like The Sweet East informs me in surreal and unconventional fashion what a culturally specific and striking region it is. This is a film that won't be for everybody; it's terminally odd, episodic to the point of being untethered, fiercely dialogue driven in some areas and visually shocking in others, a challenging arthouse road picture shot on grainy film stock, wrestling through restless themes in unorthodox fashion with a protagonist who is just south of likeable and just north of antihero. Lillian (Talia Ryder) is a runaway teen who finds herself energetically propelled from one strange encounter to the next along the USA's eclectic eastern seaboard, meeting one bizarre character after another in a free flowing, stream of consciousness vernacular that feels like a twilight zone Americana heroes journey gone slightly awry. Going into this it felt very barebones indie but there are some jarringly recognizable faces peppered in amongst the ensemble including Ayo Edibiri (FX's The Bear), Jacob Elordi (Sofia Coppola's Priscilla) and a standout Simon Rex, an actor I know only for his goofy presence in Scary Movie 3 and whose verbose, eccentric middle aged scholar here was an utterly surprising addition. Many films like this strive to illustrate a sort of dark side to the American dream but this one starts Lillian at a place where that dream isn't even a feasible undertaking, and even when she achieves some semblance of it by accidentally stumbling into the film industry, it's quickly snatched away in almost cartoonishly violent, satirically grotesque form. Like it or hate it, a lot of beautiful creativity and thought (both conscious and unconscious) went into this film and I appreciate it for being such a singular piece of artistic expression. Plus who doesn't love weird s**t? It's like a poet hipster's answer to Midnite Movie grindhouse sensibility and that's something you don't see every day.

Aight. So we're following Lillian who ran away (just for fun) and now she's getting mixed up with all sorts of people. We have some radical artists/activists, some alt right crowd, some actors, some radical religions types. So, I guess, this whole movie supposed to be like a portrait of the country. Or political satire maybe. In reality though, it's very tedious and obnoxious experience.

The main reason - Lillian. She's shallow, superficial, uninteresting human being. She's annoying and frustrating. She got nothing original to say. She's boring and she bored. And not really a compelling or sympathetic character.

Side characters are fine though, but it feels like their potential is wasted on Lillian.

Cinematography is also nice, but not strong enough to carry the whole thing.

The whole movie feels like a magical fever dream, but in a positive way. There is so much happening during the whole movie that you probably need to watch it a few times in order to identify all the metaphors that were used to create this gem. Alice in Wonderland meets American Girl from the 90s meets kafkaesk Sarcasm and Randomness. I loved it, for me it's a one of a kind movie. Talia Ryder is the absolut perfect choice for Lillian, I don't think anyone else could have pulled off that role as much as she did.

If you are open to something special - give it a try :) You get to know a lot of interesting characters and aspects about what they stand for. 10/10 for me!

Since the director was cameraman on the film Good Time, I had high expectations. But the film was a disappointment. Poorly acted, implausible situations, tedious drawn-out conversations (blah blah blah about Edgar Allan Poe etc).

Magic movie? All in wonderland? Punk fairy tale? None of that. The makers are still all adolescents and it shows, there is no fondness in it. Just Fried Air. I imagine Young people who haven't seen many films yet could probably find it special or so

I'm open to a lot ( I read references to John waters in a review ) but after three quarters of an hour it becomes too much for me, so I quit, life is too short to spend on bad movies like this one.

Just here to say I loved the film. The dialogue is well written, made me laugh and snigger throughout. Simon Rex and Talia Ryder got me glued to the screen. Now I'll have to follow whatever these two are starring in next..

The story of the Sweet East starts with a song, sung by a continuously sullen Lillian.. I loved the song and thought this was such a good way to introduce the audience to the character, because everything you need to know about Lillian is in the delivery of the song.

Then begins a 'coming of age' story, following this smart yet clueless, single-minded yet insecure girl.

It really reminded me of my own teenage self and the way I imitated people, took over habits, was intimidated by peers, had power without realising it, got lost, screwed up, was approached by men, used my looks to my advantage and experimented with it with zero care about the impact it had on others.. I thought this was the most realistic depiction of female teenage-hood I've seen on film in a long time.

Really hope to see more from the director Sean Price Williams and the main actors. Talia Ryder Simon Rex and Ayo Edibiri particularly are very fun to watch.

We've all been there. You settle in for a movie night, popcorn in hand, eager to be transported to another world. But as the credits roll, you're left with a sinking feeling. The plot holes seem like craters, the characters like caricatures, and the overall message? As elusive as a wisp of smoke. This, my friends, is the territory of the "stupid film."

These films are more than just forgettable popcorn flicks. They actively assault our intelligence, offering visuals and sound instead of substance. They rely on tired tropes, predictable plotlines, and characters who make decisions that would baffle a toddler.

The 17-18 year old high school senior who is the supposedly "picaresque" main character in this flick is utterly obnoxious in her vacant, empty, amoral approach to life. In many ways she seems younger, more like a 13 or 14 year old perhaps who is worried about being seen as "cool" so she constantly degrades absolutely everything as boring. Furthermore, I recall at that age having ethics and even budding political beliefs, while Lillian blankly moves between anarchist, far right, and vaguely leftist groups with zero feeling or development of intellect.

A terrible incident occurs about 3/4 of the way through the film that is almost entirely her own fault. She is much too old to feign ignorance that the people whom she stole from were dangerous or that her bad behavior would result in significant consequences - in this case, death for innocent people whom she's lied to.

I don't find this film amusing, and the character isn't even believable as a young woman in her late teens. I have seen reviews comparing the effect of her character passing through American current events to Forrest Gump unwittingly witnessing 20th century history unfold in front of his naive face. However, Gump was a well-written, expertly acted, and ultimately sweet film about a kind but intellectually disabled man. The Sweet East is just is pretentious nonsense. Not even sure what the director was trying to say, the flick seems to hint that the film makers are guilty of pseudo-intellectual false equivalence comparing disparate 21st century American political views.

Some of the reviews here are highly entertaining, I will admit. IMDB users never fail to amaze with their continual inability to engage with unique film.

I was simply gleeful watching the whole thing with a big smile across my face. In a world of action comedies, pretentious horror films, the borderline parody level "A24 'Genre'" type films, its so refreshing to have something as creative as this. This is a highly literate film, reminding me of Pynchon, Bolaño, Easton Ellis, Kerouac and much more. I so hope Pinkerton writes even bigger films, because this has one of the best screenplays in a long time, crafting a very unique and yet believable world, full of exaggerated yet realistic caricatures. There's an early De Palma like quality to this, very Hi Mom in parts.

Of course it was also directed by a cinematographer, so the film is probably the best looking film released in the last decade. Sean Price Williams does a fantastic job directing this gorgeous film. Dean Hurley's sound design also deserves a nod. The entire soundtrack is excellent, once again providing relief against radio hit needledrop soundtracks everybody loves now. Talia Ryder is a star in the making right here, she's excellent! Really everyone is, Simon Rex being especially hilarious.

This movie is VERY weird...and I love it.

This entire movie is basically a fever dream blended with Alice in Wonderland and surrealist concepts all around. Yet, it worked a lot. Sean Price Williams debut feature is an outstanding with gorgeous direction approaches on the tone, style and writing, weird yet interesting characters and dialogue, and great performances from the entire cast members especially from Talia Ryder. The writing explores some weird themes and ideas that work really well with the absurdity, metaphors and surrealist nature which included some amazing camerawork, strange vibes and structure approaches.

Many of the characters are strange but I found myself being invested with the journey of the characters and who they were. As mention all the performances are great especially Talia Ryder, Simon Rex, Ayo Edebiri, Earl Cave and Jacob Elordi. The dialogue is weird but good, the soundtrack and editing style is crazy but fitting, and the pacing is quite all over the place but in a very good way.

It's definitely one of a kind of a movie because I can't think of any other movie that exist that can be compared to this one. 100 percent this isn't going to be liked from general audiences but as someone who loves art-house stuff, this worked for me.

The movie follows a girl named Lillian, who, on a whim, decides to run away and embarks on a journey across America. Along the way, she encounters a series of extreme characters, each representing different facets of society.

Lillian to written to be as apathetic, opinionated, and jaded and for most the movie she remains this way. So I think Lillian serves as a lens through which we observe these encounters, not an actual driver of the plot simply there.

Interestingly, she remains largely unchanged by the experiences she goes through, which for me raises questions about her character's depth. While the diverse individuals she meets have profound stories and perspectives, Lillian's lack of development can make it feel like we're missing out on deeper reflections on these interactions.

This is why the story might have benefited from being a series rather than a standalone film. In a show format, Lillian could have had the space to reflect on her experiences, allowing her character to evolve in response to the people she meets. She doesn't have to change as a person because I think how she was written is also central to the message of the movie but there simply isn't enough breathing room in the movie, and there would have been some wonderfully emotional scenes if there was just the chance to.

In "The Sweet East", Lillian, a terminally bored, blunt-affect student from South Carolina, goes walkabout during her school tour to Washington, partly motivated by her airhead boyfriend flirting with another girl. On her Alice in Wonderland adventure, she encounters a QAnon conspiracy theorist, a trustafarian Antifa hippy, a sweet yet rotten Neo-Nazi academic, some mixed-up filmmakers, and members of a techno-tripping Islamist mannerbund, among others. It's essentially the full gamut of internet whackjobs, but everyone here is grounded in a geographical reality.

This film feels far from what one might expect from a cinematographer making their directorial debut. Sean Price Williams, known for his work with the Safdies and Alex Ross Perry, embraces a rewarding lack of caution and avoids the trap of creating a visually appealing but hollow film-an all-too-common pitfall for many cinematographers turned directors.

Lillian is an unusual heroine; she is the exact opposite of most film protagonists, functioning as a tag-along or, in modern parlance, an "NPC." In her own words, she feels like her personality is in a cocoon, uncertain whether it will eventually emerge as a maggot or a butterfly. There's clear evidence that she is a work in progress, as she often mimics the last person she met to fill gaps in her personality. Her presence provides the narrative with trajectory, plausibly attracting the attention of various characters who seek a docile, boho-looking girl to engage with. This choice of heroine is particularly funny; despite appearing unaccomplished, unformed, and uncultured, Lillian effortlessly skewers the ideologies of the polarized people she encounters with basic comments and queries.

At the same time a cheeky and chilling movie that speaks to a modern reality where conspiracy theories abound and are very funny to read, yet occasionally turn out to be true; where the true-heart local kid who complains about the government sometimes end ups clutching a rifle on a rooftop. A particularly dark moment in the film involves a visual gag with children's toys in a Washington bar basement, evoking the longstanding conspiracy theory surrounding politician paedophile rings. One critique of the movie is that some episodes are better sketched out than others. Lawrence the Neo-Nazi stands out as the most intriguing and nuanced character. He is gentle with both Lillian and his Cecropia moths, and yet his fears of cultural erosion and his despair at the rising cost of living have fuelled a racism that cripples his soul and endangers others. The feeling of the light and dark battling inside of him is well achieved, and this makes him less of a caricature others encountered by Lillian.

The playfulness is refreshing, with fun visual effects popping up: a painting used in matte or green screen-possibly a recreation of an Edenic landscape by Thomas Cole or another Hudson River School painter-alongside a model of an eyrie-like castle and some bawdy cartoon footage. This impudent style endears the film to its audience. While we may feel powerless against the cultural rot in America-a shared responsibility among all participants-we can certainly laugh about it. By adopting a humorous approach, the film offers insights into the true motivations of the modern American "ship of fools" we meet along the way, humanizing its passengers.

All I have to say is I've been waiting for a Forrest Gump remake about modern times and this was close enough for me ( still wouldn't mind a Forrest hump sequel though).. she's not slow like Mr Gump, but lost in her own world like Gump and she's not chasing a man or woman, but besides that the story line kind of has the same feel where she just goes with the flow and ends up meeting all sorts of people from all walks of life. One thing I love about this movie is the way it's shot. I'm a big fan of realism so I appreciated this story being shot from that perspective. So far this has been my favorite movie in a long time. The storyline aka the writing, the style of the film, and the actress is why I give this a 10. This is my opinion based on my taste, when I review I do not try any act like I am a film critic, and I don't compare movies to other movies I like. The end.