The Florida Project

This is not a happy, fun film. At all. But they don't all have to be, nor should they all be fluff.

I saw it on the last day it was on Netflix and only watched it because it was the last day. Am I glad I did? I am still trying to figure that out.

It is as uncomfortable as Disney is saccharine. Oops, I mean happy.

The unique buildings on the streets, the colors all around are shown to their Sunday best in the bleak lives of the people who live near them.

Willem Defoe is, as ever, brilliant and restrained and brings humanity to the group. I wish I could say the kids bring hope, but they do not. And the helicopter, to me, brought the humor and "in your face" moments.

Would I have paid to see this film and not been mad about it? Probably - a few days after viewing it. Would I recommend it to friends who appreciate films (versus movies)? Absolutely, but with reservations.

I am not sure if I will ever know what I truly think about this film. And, frankly, that's a good thing. It made me think. It made me uncomfortable. It made me question things.

It made me very uncomfortable in my own skin. So, yes. That's a good film.

My wife and I watched this movie at home on DVD from our public library. The writer/director mentions in the DVD extras that he is a long time fan of the old "Little Rascal" films and making this movie his focus similarly was on the kids and what they do during the summer without supervision.

Back in 1992 writer/director Robert Rodriguez as writer/director/editor gave us "El Mariachi" made for a mere $7000. This little movie has similarities, in fact some scenes were filmed using a phone, the writer/director rewrote some of the story during filming, and was the editor. Overall a fine effort, made to bring to light the plight of the near homeless, those families living in cheap motels in the Florida area near Disney World.

To me the real star is first time actress Bria Vinaite as Halley, a single mom with a daughter maybe 6 or 7. The writer says she would have had her daughter when she was perhaps only 15 and has had to figure out how to keep a roof over their heads. As probably most would do in a strictly survival mode her actions stray way off the line of good morality and her mouth is filthy as they come. She finds a variety of ways, some legal, to make money each week.

In a good role for him Willem Dafoe is Bobby, the manager of the motel. He clearly gets frustrated with the antics of the kids, and always having to remind Halley that the week's rent is due, but he also has a soft heart for all of them. He is perhaps the only father figure Halley ever had.

There is also a short scene with little kids playing and an older man approaches them. Bobby is on a tall ladder painting, quickly jumps into action and prevents what might have become an ugly situation and muscles the man away.

Much of the movie is hard to watch because we understand that, even though this is fiction, it mirrors reality very closely. This movie was made about Florida, you could probably make a similar one in every large community, including the one where I live in Texas.

Greetings again from the darkness. "The Happiest Place on Earth" has long been a Disney catchphrase. The irony for those living on the road to Disney World is the focus of the latest from ground-breaking filmmaker Sean Baker. Mr. Baker was the creative force behind the remarkable TANGERINE (shot entirely with iphones) a couple of years ago, and his most recent film solidifies his brilliance at bringing us the fringes of society – those we don't typically see on screen. Beyond that, these are the folks many of us pay little attention to in real life.

The Magic Castle Motel is a lavender monstrosity that belies the daily struggles of those who live behind its purple doors. It's actually a seedy extended-stay that caters to ultra-budget guests. Included among those are 6 year old Moonee (Brooklyn Kimberly Prince) and her friend Scooty (Christopher Rivera). As we watch them spit on a car below their perch on the motel balcony, we quickly judge these as kids with a bit too much free time and a shortage of parental guidance.

As the summer days roll on, we tag along as Moonee leads Scooty and their new friend Jancey (Valeria Cotto) in some boundary-pushing adventures. Their fun ranges from typical kid mischief to accidents with more serious ramifications. The brilliance here is that through the child's eye, we see joy and excitement and fun. We hear the purity of giggles and giddy screeches as the kids bound between tourist traps, ice cream parlors, and rooms forbidden as off-limits. All of this miscreant activity occurs amidst the adults who trudge on simply trying to survive another day.

While we might be tempted to recall Cat Stevens' lyrics, "while the sinners sin, the children play", it's director Baker that refuses to pass judgment. Moonee's mother Halley (Bria Vinaite) was recently fired from her "dancing" job, and is now constantly on the prowl to make enough money to cover the weekly motel bill. She clearly loves her daughter, but is too proud and angry, and just has no idea of how to pull out of this vicious cycle of poverty. The artificial dreams that are prevalent in so many films have no place at the Magic Castle Motel. It's about the next meal and keeping a roof above.

Don't go searching for plot here. Instead, at times it feels like a documentary on Moonee or the spirited need for fun and laughter that is in the DNA of kids. We are just following a real kid around, and that's a tribute to the marvel that is Brooklyn Kimberly Prince. She steals every scene and most of the movie … and that's in spite of the terrific performances from Ms. Vinaite and screen vet Willem Dafoe. It's a rare "normal" role for Mr. Dafoe, and he makes the most of it as Bobby, the motel's manager. He is also a father figure, mediator of disputes, bill collector, and protector of damaged souls. With no hint of saccharine or Hollywood mush, Bobby is unable to detach emotionally from those who live at the hotel, not because he is soft, but rather because he is human. We see his demeanor change drastically when the owner of the hotel arrives for inspection. Bobby understands the fragility of his own situation due to what he witnesses each day.

Director Baker is a master of color use and the blending of abrupt framed images with the handhelds in close proximity within motel rooms and personal interactions. His story (co-written with his TANGERINE and STARLET collaborator Chris Bergoch) never feels condescending, preachy or romanticized. There is no blatant political statement being made. These are folks living their lives as best they are able within the confines of their situation. The police and Child Protective Services are always hovering as a reminder that the next mistake could significantly alter lives. Somehow, the film is both hilarious and heart-breaking. The obvious comparison is to last year's MOONLIGHT, and it could even be viewed as a prequel to American HONEY. Mostly it's a slice of rarely seen life and further proof that Sean Baker is already an important filmmaker, and one that likely has more to say. As for the debate around the final scene, does it really matter? There is no better place for a child to escape reality … even if it might only be in their mind. Sometimes that's the only escape we get.

Uncomfortable - yes.

Language that children should not be using - yes.

Situations that no child should be in - yes.

A peek behind the curtain at the circumstances of those on the lower rungs of society, monetarily and otherwise.

Be thankful for what you have for there are those with literally nothing.

This film immerses us into the world of lower-class people in Florida who ironically are staying in a cheap hotel next to of Disneyworld, where a set of four magic band bracelet tickets goes for $1600. There are excellent performances all around, especially from Brooklynn Prince, who plays a tough, mouthy, and yet sweet little girl with an arresting honesty. The character is just six but in many ways seems older, growing up too quickly while left mostly on her own to roam around with her friends.

It doesn't take long to feel sorry for the children in this situation, with no structure or guidance, and horrible role models. In ten years we can easily imagine the little girl grown up to be a similar mother, and ten years ago we can imagine how the mother must have grown up. Without even a hint of this message from director Sean Baker, who shows masterful restraint, we see how hard it is for someone to rise out of the lower class or a difficult upbringing - not impossible, but not easy. The film may be an ink blot test though, because I can also imagine the response of them getting what they deserve, since the mom doesn't get a job as others around her do, runs scams, and resorts to prostituting herself, and I have to say, feeling empathy for her is a real test. Just watching how poorly she behaves is one of the turn-offs to the film, even if it's honest.

The little girl is easy to feel sorry for because she's still just six; this is what happens with awful parents. But the mother was also likely brought up in a difficult environment, so the film begs the question of what to do about vicious cycles like this while wisely not attempting to answer it. Instead it just gives us reality, as cringe-inducing as it may be at times.

I loved how it was edited, with cuts tending to shorten scenes. I think that was a wise move, since a lot of the film is simply showing us a series of vignettes without the machinations of a big plot, and this kept it from lagging. I also loved the character Willem Dafoe played - what a tough job he has, and yet he's a model of empathy and kindness, an absolute angel under the façade of a grizzled hotel manager, never judging anyone. He plays the part perfectly too, without embellishing it with sweetness or anything that doesn't feel completely authentic. How it resolves is great too, because you can see both the tragedy and the need for it, after everything we've seen.