The New York Times describes Spring Breakers as “at once blunt and oblique,” although you might say the film spends half its time making a very obvious point and half its time not sure what point it’s making. Which doesn’t sound like much of a recommendation, but the film is actually pretty interesting. The obvious point it seems to be making at first is an analogy between the religious enthusiasm of Faith’s (Selena Gomez) evangelical church and the hedonism of spring break, emphasised by the similarity in the energized performances with which the minister encourages teenagers to get “crazy for Jesus” and the rapper Alien (James Franco) eulogises “bikinis and big booties.” If this were all the film were doing, it would be a fairly straightforward and indeed rather puritanical criticism of Schwärmerei. It would also justify interpretations of the films as entirely contemptuous of the characters and also the audience (who would be posited as a mindless Hollywood audience caught up in the hedonistic enthusiasm the film represents).
What makes the film interesting, though, is that it doesn’t just make this analogy the basis of a simple criticism: it takes this analogy seriously, or at least plays with it at length. It’s Faith, steeped in the dubious transcendence of church youth groups, who describes spring break as “the most spiritual place” she’s ever been, but the film-making seems to back this up. The bright colours, the visual and temporal distortions, skips and, repetitions, suggest (the fantasy of) a spring break outside mundane time. This interesting review suggests the film is a “music video,” but I’m not sure that’s quite right. Rather, the film produces visually the affective structure of a dubstep track (or specifically of its theme tune, “Scary Monsters and Nice Sprites,” by some distance the best brostep track); sharply switching between an ethereal straining at the limits of reality and a brutal pulverising of it produces a kind of transcendence, or an aesthetic effect that hints towards transcendence, at least. Continue reading “Spring Breakers’ anti-human communism”