Episode 16: The Florida Project

Justin:

In teasing this episode last week, I referred to THE FLORIDA PROJECT as a film that “screams the year 2020.” I’d like to actually explain what I meant by that here now...

So first, there’s the monotony of the lives being led at the Magic Castle motel. Day in, and day out, the characters in this movie live a pretty repetitive life and the way in which Sean Baker tells this story solidly hammers that home. And ever since March when Covid-19 restrictions and recommendations came down the pipeline, most responsible people, us here at the show included, have found ourselves spending a great deal of time at home, repeating our daily routines over and over. 

Another much darker parallel between this movie and 2020  is the economic disparity on display. When you consider what we’ve seen over this year in this country, from miles-long food lines to record unemployment, it’s not too far-fetched to suggest that Halley and Ashley and all of the other people struggling to make ends meet in this movie are a pretty definitive representation of what is truly too many people in a country that contains as much wealth as the United States. An air of desperation hangs over so much of our country right now and I would certainly suggest that Baker leans into that same feeling throughout the runtime of this movie. 

All of that being said, and even despite my own cynical tendencies, there is one more parallel present where I do actually find a tinge of hope. In the tremendous final moments of THE FLORIDA PROJECT, Jancey grabs Moonee by the hand and races to Disney World in an effort to run away from the scary and uncertain reality she’s facing. Now, for my money, I believe the scene itself is a cooperative imagination that Jancey and Moonee collectively wish could be true, but whether it’s actually happening within the context of the movie or not, the value of connection and friendship and the power behind those forces is on full display. And as this hellish year comes to a close with Covid cases still spiking, a lame duck President attempting to subvert democracy seemingly every day, and an economic disaster rampaging anyone who isn’t a millionaire, there remains a glimmer of hope in the presence of those among us willing to sacrifice for others, namely our first responders and medical professionals leading the charge, and our close friends and family not far behind (albeit with proper distancing). They’re the Jancey for each of us, dragging us to some semblance of joy amongst all of the pain, a little hope against the fear, and a little love when hate seems like the common currency.

So here’s to a new year, a fresh start, and each of us finding our way to our respective happiest places on earth in 2021. In the words of the wise Dominic Toretto, Salud mi familia.

Pete:

For my money, The Florida Project is one of the great tightrope walks in film history. And I say this for 2 reasons:

Brooklyn Prince gives one of, if not the, best child performances anyone has ever seen. It’s a nuanced portrayal of a precocious child whose life circumstances force her to learn harsh truths about the world no 6 year old is capable of handling. Prince brings Moonee to life – portraying her as a troublemaker, but one full of innocence. We get glimpses of the person she may become without losing any of the sweetness that fully embodies her character. I don’t know if Prince is just an especially gifted actress, or if Baker brought this out of her, but either way, this is one of the performances that has stuck with me in the three years since the film’s release.

Speaking of Baker, his direction is the other great balancing act the movie is able to pull off. The film’s final scene that we’ve touched on a few times throughout tonight’s episode is intentionally jarring, but by showing two children running away from a reality rife with problems they aren’t equipped to deal with, it becomes the visual embodiment of childhood as sanctuary. What the means for Moonee and Jancey is left up to interpretation, but Baker really cannot be praised enough for how he takes such a deeply troubling, difficult to watch/acknowledge situation and turns it into something both entertaining and profound without the slightest bit of exploitation. 

The Florida Project’s delicate balancing of childhood joy and the cold, hard reality of adult life makes for something that pulls the audience to both extremes, ultimately allowing ample space for the full spectrum of emotions and thoughts. It’s empathy personified, even for the worst among us. And that’s something truly special and worth holding onto.