A stressful experience; something of a proto proto Los Olvidados done by Harmony Korine at his most benevolent. Powerful in its examination of poverty's relationship to chaos and order. Not sure that that ending really works, either as wish fulfillment or ironic statement, but the intensity of the film's tragedy provokes a corrective response of action in the viewer.
Just like Tangerine, this one felt such a refreshing piece to see from Sean Baker. It has that range of fun colours that makes you want to watch it for hours without complains. The white trash is definitely here and it is showed in the appropriate time that America is living. It proves that love, carelessness, compassion and the effort to have a peace of mind are truly great values.
From the point of view of a child, we find out about the mother’s struggles at the same pace as her- since we only see the children most of the time. From the colour grading, the choice of costume colours to the colours of the buildings- everything points to a childlike world. Subtly saying that this mother is like a child, who doesn’t want to grow up- to support her child, but nonetheless loves her child to the end.
****1/2 Like 2017's other diamond in the rough, Good Time, Florida Project reveals social marginality as its own kind of hyper-restlessness (both movies were also shot on celluloid to dazzling effect). As with Tangerine, Baker has a remarkable ability to balance slice of life goofing with propulsive narrative energy, aided by flawless performances by Prince, Vinaite, and Defoe. It only falls short in its ending.