The Candy East evaluate – defiantly obnoxious US coming-of-age film

The Candy East evaluate – defiantly obnoxious US coming-of-age film

The Candy East is definitely polarising. Watching the directorial debut of cinematographer and Safdie brothers collaborator Sean Value Williams is a bit of like getting caught in a practice carriage with an adolescent blasting music by the tinny speaker of their cell phone. On the one hand it’s enraging and you’d do just about something to make it cease. And but there’s a grudging admiration for the insouciant swagger, for the no fucks given angle and the glassy layer of self-absorption. It takes a sure elan to be this unapologetically obnoxious, so kudos for that, I assume.

A digressive, episodic journey of self-discovery, the movie follows Lillian (star-in-the-making Talia Ryder), a highschool scholar from South Carolina who will get separated from her classmates throughout a visit to Washington DC. Lillian swaps names and identities the way in which different individuals change nail polish colors; she latches on to a bunch of activists, together with the smoky-eyed, extravagantly pierced Caleb (Earl Cave); then middle-aged white supremacist Lawrence (Simon Rex), then Molly (Ayo Edebiri), an excruciatingly pretentious film-maker who casts Lillian reverse heartthrob Ian (Jacob Elordi) in her indie movie manufacturing.

Williams’s work as a cinematographer consists of the Safdies’ Heaven Is aware of What and Good Time, and Alex Ross Perry’s Her Odor all movies that share the rattled, chaotic power that informs the snotty, satirical tone and flick-book consideration span of The Candy East. However for all its to-the-moment social commentary, the movie has roots within the anarchistic, surrealist 60s: Lillian may very well be a direct descendant of minxy troublemakers Marie I and Marie II from Věra Chytilová’s Daisies, reimagined for the TikTok era.

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