With “Spring Breakers” Korine has really managed to reflect, deconstruct and subvert (the way the great fun of it also becomes the grim menace of it, I find genuinely subversive) what some might see as banal popular culture and escapism and turn it into radical poetic hyper-cinema, and I truly found that masterful. It really speaks volumes of contemporary culture where the “dreams” of the populace is nothing but representation and spectacle in its purest form. thereby adding another level of analytical value and another point to.There is a method of repetition that runs through the film (which I’m sure will annoy quite a few people), dialogue is repeated, scenes are repeated, images are repeated, the sound of a gun being loaded (used brilliantly as poetic punctuation) is repeated – every time eschewing the original meaning of said occurrence The liquid colorful cinematography is spectacular throughout, though some scenes especially stand out, for example the robbery and the montage that goes along with Britney Spears “Everytime”, spectacular examples of great art. But in “Spring Breakers” those themes are presented in more dimensions than in for example “Mister Lonely” or “Trash Humpers”. an intense “heightened” or elevated existence beyond good or evil, where reality is replaced by a (or the) dream that goes on forever and ever. The themes of the film are similar to what Korine has touched upon before: mundane reality vs. The film feels somehow beyond the postmodern dichotomy of good/bad or high/low – rather – it reads like some sort of hyper-simulacrum that reflects contemporary culture in an extremely complex manner. My first reaction was one of absolute elation after witnessing an extraordinary piece of transcendental art. OK, so I saw “Spring Breakers” last night at the Gothenburg Film Festival and it’s still fresh in my mind.
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