This is a patchwork dystopia of white poverty whose facets are difficult both to deny and to prove exist as depicted.
At maybe half or a quarter of the length, American Honey might’ve gotten by on this surface-level vision.
That Wasn’t Me is devoid of the snarky arrogance that defines this category’s other recent inexcusable winners.
Andrea Arnold is reluctant to turn Heathcliff into the dashingly sadistic scheme-meister he becomes in the novel.
Suffocation takes many forms in Fish Tank, the most notable being romantic promises written in water.
Andrea Arnold’s second feature is the heir to a long-standing British tradition of kitchen-sink realism
Arnold’s filmmaking style is precise and concise, as tight and lean as her teenage heroine.
The experience afforded by a collection of this sort demands something of a reexamination of one’s relationship to the medium.