Kinski glorious megalomania and sex addiction. He is doing too much here to be taken seriously. Looks more to be influenced by Sade than a realistic biography of Paganini. The darkly melancholic photography beautifully serves the film.
I realised too late that I downloaded the censored theatrical version. What Harmony Korine wanted Spring Breakers to do, what Orson Welles said about the camera being the eye of a poet, what Kerouac said about forgetting the arbitrary confines of story and focusing on revelatory Picture, Shakespeare about sound and fury signifying nothing, Kinski succeeded in realising in this mad and maddening film.