by Jack Brown
Welcome home Guwap. Harmony Korine explores the raw, hyperbolic extent to which partially clothed, amoral, hot-and-ready college girls are willing to go in order to achieve their god-given right of Spring Break. Korine curates a tailored critique of a less-than-niche demographic of depraved, college aged dudes and bitchez in the form of a hyper stylized liquid narrative. The film takes it’s power as a social critique by emphasizing cast and style. Modern cultural icons such as our Disney darlings turned coked-out sluts, James Franco, the ATL Twins, and a breakout performance from Hollywood’s new brightest star, Gucci Mane. The film also features contemporary musicians in the soundtrack such as Skrillex and Gucci Mane to further dig it’s foot into the modern day. Our protagonist cast of riley thug bitchez escape the droning hues of campus to euphonic noise and saturated colors of the beach. During the peak of the bitchez coked-out sex, the texture of the frames become morphed and exaggerated while depth fluctuates, causing the viewer to pop a visual molly.
Once our bitchez are bailed out by Alien (a thinly veiled rendition of Florida rapper Riff Raff; played by James Franco) the criminal behavior of the bitchez becomes explicit. The new bitch criminals now blatantly indulge in a Atlantistanian form of trap criminal activity; crescendoed setting into impoverished Florida (accompanied by Gucci Mane’s Young Niggaz as soundtrack). Violent illicit behavior and drug trade in Atlanta’s boondox has been brought into the cultural know and popularized thanks to trap music; rap’s more criminally insane, punk nephew. Trap music is not so much a genre as it is a thing drug-dealers do off to the side, “...rappin’ really ain’t my passion, I’m really into trappin’” (Shit wouldn’t happen, Gucci Mane). It’s because these violent criminals (Trappers) have a demographic in America’s hedonistic youth that Korine changes the setting from Spring Break, focusing on the youth, to the Trap, focusing on hardened criminals to which the young are idolizing. Alien stands, arms out atop his king-sized bed, three gold chains, diamond encrusted grills, holding two AK-47s; “LOOK AT MY SHIT!!”. Alien’s identity is more material possession and synthetic dopamine than man. These qualities propel Alien to be the Christ figure for our bitches, later instilled into martyrdom during the film’s climax. His ideals live on in the two survivors, college girls turned criminal trappers. Korine provides a brutally honest critique of the glorification put on carnal pleasures by America’s youth, Korine cognizantly perverts the role of the actors to which Spring Breakers’ targets as it’s demographic while simultaneously satirizing that same demographic. A mirror is put in the guess of provocative advertising, and when the veil is lifted; the audience is beaten over the head with Korine’s mirror, in ecstasy gazing at their image reflected Jack Brown is a former Portland Barista and current fashion and film boy genius working as a model and for The Salt Lake Film Society. He is also a student of Graphic Design at The University of Utah. He hails the only worthy deity, Lord Kubrick, thus spoke Zarathustra.
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ContributorsThe contributors for Cashiers of Cinema are a menagerie of creators devoted to Radical Aesthetics. Meetings are held at the dumpster behind Winkie's. Archives
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