The Florida Project (2017)

“The man who lives up here fought in some wars. And he drinks beer.”

“This guy has a disease that makes his feet large.”

“The man who lives here gets arrested a lot.”

“Oh, watch out, watch out for the water! Cause guess what! I went to the hospital one time.”

“These are the rooms we’re not supposed to go in. But let’s go anyway!”

One of my favourite scenes in the movie is this, wherein Moonee gives her new friend a quick look around her apartment building. This is exactly how the film presents itself to us - exploring mature themes of poverty, substance abuse and sex work – through the eyes of a six year old girl. The film follows the life of a cheeky troublemaker named Moonee (Brooklynn Prince) living with her unemployed single mother, Halley (Bria Vinaite), in a budget motel in Kissimmee, Florida.

We, as the audience, experience the world of ‘The Florida Project’ at a visceral level from a child’s perspective – which is done with the help of visual storytelling. One thing that fascinates me every time I watch the film is how it presents the ‘physicality of childhood’. How the childlike innocence in Moonee’s life is only present physically, evident in her surroundings - vast open fields, vibrant streets, enjoying ice cream, creating imaginative games, all right next to the "happiest place on earth", Walt Disney World. However, amidst this colourful fantasy world, we find the harsh reality of the adult world and its problems lurking, and Moonee’s exposure to and her life ‘in’ it - to poverty, theft, sex work, substance abuse, and violence. Moonee therefore isn’t truly living her 'childhood'.

The movie’s colour palette is quite vibrant and youthful, with a wide range (purple, blue, orange, green, pink) that stand out throughout the course of the film. Not only do these colours make the audience feel like they’re back in their school summer break, but the variety of shades too symbolises the dynamism and excitement that comes with childhood. Moonee seems to find joy and excitement in every little thing that she does; whether it’s exploring abandoned buildings, washing the car and cleaning it for her neighbour. The same car that she had thoroughly enjoyed spitting on with her friends just a short while earlier.

Besides the colour palette, director Sean Baker often uses wide-angle shots to capture the expansive landscapes, making us feel like a ‘small kid’ in this huge world. This technique immerses the viewers in the child’s physical environment and the vastness of their world.

Another thing I observed while watching the film was that most of the more disturbing scenes tend to focus on the child more than the actual scene. The camera focuses on the facial expressions and emotions of the children, allowing the audience to connect deeply with their experiences and feelings. Take, for instance, the scene wherein Halley is talking about how she lost her job at the strip club to another lady,

or when Halley is beating up her friend during a fight.

We also come to know that Halley prostitutes herself in her apartment (an important part of the storyline) only when her client accidently walks in on Moonee bathing in her bathtub. It's almost like we've been put into the shoes of the kids. This visual intimacy enhances the empathy towards the children's struggles and resilience. It emphasises the point of view of the child in the situation and the depth of impact it indirectly has on them, despite being seemingly oblivious to everything around them at other times.

Somewhat disturbing at times and sad, especially at the end, the irony of 'The Florida Project's' bright and colourful backdrop and setting wasn't lost on me.