American Honey

Impoverished entrepreneurial acquisitive camaraderie, credulity, ebulliency, buoyantly wavering breezy undulations, leave it behind and quest curtsey Carolina, viscously reacting to consummate best practice, jousting Jack/Jill, expressly un/fulfilled, expedient liaisons assailing partnershipped fluencies like soul crushing levelling enraging surveillance, betrothals, portfolios, necessitous catalysts ephemerally veiling effacements, attainments, relaxing laid-back chill calm and spatial, their environment stoking anthropomorphic sage, beatific verse terrestrially scolded fleece, blanketed flair rustic resonance, periodic pillows of wind, a rest, jests, caressed tranquility, ecstatic existence, wool undershadowed mellow.

Films like this don't come around often.

Devices you'd find in so many just sort of there for the partaking, not concerned with generating a thought or emotion, more like evocative immediacy living day to day, explosive yet stoic, every 24 hour cycle rewriting codes in kinetic cuneiformed western wrestlin' peach, exotic mundane snuggly fitting docs, the natural world in ribbitting gentle whiles firebright.

I love what Shia LaBeouf(Jake) has done with his career.

Sasha Lane(Star) also impresses.

With poetic fever in erratic fathoms, American Honey plucks and pulsates like unpasteurized raw ambrosia, precepts, dusk till dawn.

Moonshine.

Self-perpetuating brisk momentum.

Quintessential cultural fuel.

Favourite film of 2016 so far.

Another gritty romance.

Red Road

Andrea Arnold's Red Road unwraps the hidden obsession lying dormant within its heroine. Kate Dickie plays Jackie who monitors a number of cameras which watch over a run down neighbourhood in Glasgow. One day, Jackie discovers a criminal who is inextricably linked to her past upon one of her screens and becomes obsessed with locating him. Her focus upon Clyde (Tony Curran) soon becomes destructive as she begins to spend more and more time viewing his life and less focusing on the community around her. Within Jackie's quiet desperate desire Arnold paints an intriguing portrait upon an ethical canvas, skillfully interrogating morality while deconstructing the dichotomy established between criminal and security officer, her finished product highlighting the difficulties one experiences in keeping the peace from psychological, communal, economic, and familial viewpoints. Sanity is for the sane and Red Road subtly and playfully challenges the concept of the normal while Dickie's poignant Jackie reminds us of the consequences of absolute loss.