Droves of unexpecting Selina Gomez fans would have shown up, and just as many would have walked out confused and disgusted (I’m sure the kids behind me in the theater were members of these droves).
While it delivers bikini-clad, sapphic college girls robbing drug dealers set to Britney Spears, the editing, structure and voice over reminded me more of Malick than Bound. The film is, in many ways, the exact opposite of what its marketing campaign and seedy plot description promises. Spring Breakers could have been successful just by performing some sort of fantastic prank on its audience of Disney Channel loyalists and Franco fans. Add to the casting decisions the fact that Korine himself is going against his own reputation, making a film about four college girls and an amateur drug dealer named Alien after films like Trash Humpers, Gummo and Julian Donkey Boy, and Spring Breakers is a TMZ wet dream. It stars three teen idols, playing against the (somewhat) clean image they have in the media, and James Franco, who seems to become, in the eyes of entertainment media, an iconoclast by pushing the limits of picking controversial projects in the age of picking controversial projects. I doubt there will be more written about another film in 2013, and for obvious reason. Last night, I saw the nascent year’s most discussed film, Harmony Korine’s Spring Breakers. The violence of the male gaze in narrative cinema is made flesh. The camera is not only used to record Lewis attaches a knife blade to one of his tripod legs. The camera becomes a tool of destruction, a weapon that not only objectifies with its gaze, but literally kills. In Powell’s film, the pleasure Mark Lewis, the titular peeping tom, gets from the act of watching is taken to its logical, violent end point.
#What is the movie spring breakers full
A film of fantastic psychological complexity, one of its most daring aspects is the way it embodies the male gaze inherent in narrative cinema and brings it to the forefront, a full 15 years before Laura Mulvey would publish her famous essay on the subject, “Visual Pleasure and Narrative Cinema.” Similar to Alfred Hitchcock’s more popular Psycho, it depicted a man who murders women as he films them. Michael Powell, in 1960, made a film that departed from his famous work of the 1940s and 1950s with Emeric Pressberger.
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