The Florida Project trades heavily on the irony of this movie's characters living a close destitute lifestyle from the shadow of a giant company theme park built on the notion of a magic escape. What is so impressive about The Florida Project however, is the manner by which manager Sean Baker chooses to not wallow in the issues that the movie's characters confront. They are there and we understand them, however they're a component of their own lives, not what defines them as individuals.
Having fun and laughing can be a remarkably significant part their lives. It is a profoundly human strategy from Baker and one which relies on a lot of empathy. Baker's strategy is always one where subtly is overriding, enabling you to intuit what characters are feeling and just what is happening, something which makes it possible for the empathetic bond of a viewer with all the characters to develop into something complicated and extreme. Something which is even more significant when characters act in a way that could be viewed as 'incorrect' or hard to link to.
This bond with the principal characters is even better thanks to Baker's decision to framework - both narratively and visually - the movie from the perspective of children. Focusing largely about the antics of a young woman named Moonee - though her mum, Halley, additional kids, and resort director Bobby will also be all significant characters - Baker and cinematographer Alexis Zabe often put the camera in Moonee's eye elevation, even sometimes when she is not at the scene. It is powerful and can be representative of the way profoundly Baker has obviously thought about how significant his visual approach to this movie is. 1 scene in particular shows how impressive this type of strategy can be and also the assurance with which Baker follows through.
Moonee is at the tub and we see a photo of her playing, the noises of a hip hop radio channel playing out of a telephone in the backdrop. Into the spectacle bursts a guy. Someone that we know is possibly a customer of her mommy. The camera remains around Moonee though and never leaves her face, as she's a bit fearful and after he is left, maybe somewhat confused. It is tender, psychological and exceptionally private filmmaking, and it functions in this incredibly strong way. The Florida Project is a phenomenally beautiful movie to check at - a saturated rainbow decorative dominates every scene - but this, like everything from the movie, is performed with certain function.
In a particularly funny scene a couple on their honeymoon arrive, believing they are booked to a Disney resort, and are extremely frustrated indeed if they realise their mistake. The vivid colours also comparison with the somewhat darker aspects of their characters' lives. Nevertheless, it is not all about irony; the colors also pop with exactly the exact same type of vibrancy since the figures do as they unwind and enjoy themselves. Moonee might not have access to the theme park, but her playground is all around her, and it's her feeling of wonder and ability to locate magic - and mischief - within her somewhat gloomy everyday life that offers the movie so much raucous power and sense of pleasure.
The figures from The Florida Project feel so unbelievably real too - a testament to the manner in that Baker constructs the planet, but also the incredibly raw performances of all those involved. And at the movie's more upsetting minutes, for all of the joyousness, we do see the sadder realities necessarily catch up with all the figures - almost feeling like we could reach out and touch them. Show a number of the empathy and compassion that society so seldom appears to provide those in need.
Wallpaper from the movie: