writer, criterion collector, michael mann stan
Refn is unsurprisingly very deliberate here, with every aspect of this beast of a film retaining the thematic consistency he applies as both a touchstone and a fetish. takes virtually everything people both love and hate about his work—beautiful scenery, sadomasochistic imagery, glacial pacing—and tosses them in a blender, producing a bloody, neon-drenched smoothie that utilizes every single minute of its monstrous runtime to craft a gorgeous, provocative, and spiritual odyssey of souls trapped wandering the limbo between life and…
"feels as if the world is perfect. like it's never gonna end."
Korine's masterpiece captures indulgence, disillusionment, and youth's quest for self-actualization like no other film in history, and possibly greater than any before it. takes the cultural fixation of spring break and spiritually recontextualizes it as a metaphysical gateway between heaven and hell, the devils flying down from above, bestowing deliverance from mundanity. lucky souls are provided a way out while others find sanctuary amongst the materialistic excess. what…
The director of this (who is a white woman) said back in February in this interview that "Although it's a critically important Chinese story and it's set in Chinese culture and history, there is another culture at play here, which is the culture of Disney".
that should tell you pretty much all you need to know. Disney, how fucking hard is it to just hire directors of color?