Sam, a disenchanted young man, finds a mysterious woman swimming in his apartment's pool one night. The next morning, she disappears. Sam sets off across LA to find her, and along the way he uncovers a conspiracy far more bizarre.
Director:
David Robert Mitchell
Stars:
Andrew Garfield,
Riley Keough,
Topher Grace
Four college girls hold up a restaurant in order to fund their spring break vacation. While partying, drinking, and taking drugs, they are arrested, only to be bailed out by a drug and arms dealer.
Journalist Fred Flarsky reunites with his childhood crush, Charlotte Field, now one of the most influential women in the world. As she prepares to make a run for the Presidency, Charlotte hires Fred as her speechwriter and sparks fly.
Director:
Jonathan Levine
Stars:
Charlize Theron,
Seth Rogen,
June Diane Raphael
The story of Roman Coleman, a violent convict, who is given the chance to participate in a rehabilitation therapy program involving the training of wild mustangs.
Director:
Laure de Clermont-Tonnerre
Stars:
Matthias Schoenaerts,
Jason Mitchell,
Bruce Dern
On the eve of their high school graduation, two academic superstars and best friends realize they should have worked less and played more. Determined not to fall short of their peers, the girls try to cram four years of fun into one night.
Director:
Olivia Wilde
Stars:
Kaitlyn Dever,
Beanie Feldstein,
Jessica Williams
A couple travels to Sweden to visit a rural hometown's fabled mid-summer festival. What begins as an idyllic retreat quickly devolves into an increasingly violent and bizarre competition at the hands of a pagan cult.
Director:
Ari Aster
Stars:
Florence Pugh,
Jack Reynor,
Vilhelm Blomgren
Director Harmony Korine said during a live Q&A after the film's SXSW premiere that he got the idea for Zac Efron's facial hair while staring at a panini sandwich. See more »
Goofs
One slow-mo side shot of Moondog playing the piano reveals a camera rig's shadow on the ground. See more »
Quotes
Moondog:
One day I will swallow up the world, and when I do, I hope you all perish violently.
See more »
Another post-irony prank. Remember in Spring Breakers how there was this trace of conscience behind it? Just enough to see it at social critique as the girls gradually drop out and return back to humanity or face the consequences of their actions, bringing forth some accountable artist at work behind it. Beach Bum hints at avenues where it might go there with the daughters tiredness and stoicism, the ex-wife's fate, and his legal repercussions; but any traces of lessons, growth or consequences are stomped to pieces moments later. Korine's artist commentary is strangely hidden in its excess. Every one of my audience walked out. It's so gleefully immoral that in this universe he's rewarded with the highest accolades society can offer because nothing matters.
"He just makes me so crazy." Constantly it makes fun of any kind of real authenticity people can have between each other. It's sarcastic Terrence Malick. It don't care about nothing. A canary in the cold mine in late stage capitalism where one has these infinite resources and distribution, to make fun of god. The court jester throws out his inhibition to mock the king, laughing while getting hanged for it. Problem with both this and Spring Breakers is they become the real deal, actual culture in the process of their critique. While works like this you can only see the meaning in the opposite. So the film's function seems to be mocking its own audience and their motives to see it in the first place.
Think of the performance art as the juggle of financing, banking, courting the industry to make this at all, reflecting the machine's decay against itself. You could hate getting dragged through the mud but it's pretty much the definition of iconoclast. Korine said, "These films mean nothing to me and everything." As in it's his way of chipping away and bringing down the structure from within. Its existence is an act in radical accelerationism. The end of the empire. collapse, civil war, the global digital juggernaut paradise-hell.
The ones not concerned with the world around them move the same direction except within delight.
Then the moral frame missing unlocks its true motive in reflecting the surrounding culture at war. Individual to a satiric extreme; laissez-fair 'life is fun, have a laugh, there's Moondog in all of us', while really believing the opposite. Bum is a pejorative. The film's conscience is not missing but inherent, and all the 'endearing' and 'feel good,' despite its endless evils and debauchery, are maybe being fooled by Moondog's charm, which might have been its actual prank.
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Another post-irony prank. Remember in Spring Breakers how there was this trace of conscience behind it? Just enough to see it at social critique as the girls gradually drop out and return back to humanity or face the consequences of their actions, bringing forth some accountable artist at work behind it. Beach Bum hints at avenues where it might go there with the daughters tiredness and stoicism, the ex-wife's fate, and his legal repercussions; but any traces of lessons, growth or consequences are stomped to pieces moments later. Korine's artist commentary is strangely hidden in its excess. Every one of my audience walked out. It's so gleefully immoral that in this universe he's rewarded with the highest accolades society can offer because nothing matters.
"He just makes me so crazy." Constantly it makes fun of any kind of real authenticity people can have between each other. It's sarcastic Terrence Malick. It don't care about nothing. A canary in the cold mine in late stage capitalism where one has these infinite resources and distribution, to make fun of god. The court jester throws out his inhibition to mock the king, laughing while getting hanged for it. Problem with both this and Spring Breakers is they become the real deal, actual culture in the process of their critique. While works like this you can only see the meaning in the opposite. So the film's function seems to be mocking its own audience and their motives to see it in the first place.
Think of the performance art as the juggle of financing, banking, courting the industry to make this at all, reflecting the machine's decay against itself. You could hate getting dragged through the mud but it's pretty much the definition of iconoclast. Korine said, "These films mean nothing to me and everything." As in it's his way of chipping away and bringing down the structure from within. Its existence is an act in radical accelerationism. The end of the empire. collapse, civil war, the global digital juggernaut paradise-hell.
The ones not concerned with the world around them move the same direction except within delight.
Then the moral frame missing unlocks its true motive in reflecting the surrounding culture at war. Individual to a satiric extreme; laissez-fair 'life is fun, have a laugh, there's Moondog in all of us', while really believing the opposite. Bum is a pejorative. The film's conscience is not missing but inherent, and all the 'endearing' and 'feel good,' despite its endless evils and debauchery, are maybe being fooled by Moondog's charm, which might have been its actual prank.