In Harmony Korine’s Spring Breakers this duality coalesces into an magmatic whole, the (American) dream is broke and can no longer afford its preposterous innocence. Good and evil, so to speak, are part of the same generational experience, two hearts beating as one.
Korine comprehends all the grandiose and empty tragedy that adolescence is, that liminal, painful interval between wide-eyed stupor and jaded cynicism. He undresses the modern Disney icons to expose the rot they usually conceal. Spring Breakers is the last(ing) beach party of a country too terrified of adult life to grow up while inevitably having to come to terms with its dark side. Through an a-temporal, sensorial trance the director stares in awe at the horror vacui of a lost civilization, staging the ecstatic freefall of moral dissolution.
I don’t know what to think about this