Film Analysis: The Florida Project

The famous line introduced by Walt Disney, “All our dreams can come true, if we have the courage to pursue them” makes the audience justify a better understanding of the harsh reality of Halley, while slipping inside of 6-year-old Moonee’s enchanted world as she blocks out the poverty-stricken environment that surrounds her. The Florida Project is shockingly realistic, with a title that proves controversial to many by grappling with the realities of the forgotten population on the outskirts of Magic Kingdom. This film achieves a rare and magic divide of melodrama by having a perspective through the eyes of a child, rather than an adult. The plot is purposefully designed to appeal strongly to emotions by providing clues of the shadows of a poverty-afflicted

The movie transpired by Sean Baker creates a subject matter that focuses on the fringes of society in Florida that is often overlooked by simultaneously diverging the film between luxury and underprivileged people. The film concerns the daily lifestyles of a young girl, her childhood friends, a single mother, and a landlord. The initial scene of the children scavenging around the motel and neighborhood spitting on cars, using profanity, and displaying inappropriate hand gestures that a child at this age would not do, shows the circumstances they are abiding. Moonee spends her endless summer days with her friends, Scooty and Jancey, running around the grounds nearby seeking ways to find money for ice-cream, free food from the diner’s backdoor, and causing chaos to Bobby’s motel. As for Halley not having a father figure to lend a hand, is caught into the rough actions of advertising her services online as a prostitute, closing Moonee behind doors while she has a client, and steals and sells valuable resort passes to make profit for her pocket. Aside from the

This film excelled on cinematography as it enhanced camera shot selections that focused on colors, surrounding landscapes of Florida, and tied in the background living conditions. Eye-level angle put the audience on an equal footing with the characters as they were the focal point through chaotic and calm scenes. While watching, it contained a fair amount of long shots that presented a large amount of landscape, but gave a more specific idea of setting. The camera was at a stand still while the whole scene unraveled in one shot, as the children ran up the stairs and across the walkway of the motel to make fun of the topless woman. The director also illustrates a few close-ups containing the face of Moonee while she was stuffing her face full of continental breakfast and Halley’s mouth as she screams and cusses out of frustration. During the uneven times of, the primary standpoint of the camera smoothly followed the children to put an emphasis on their feelings when scenes played role. If the camera was spasmodic, all emotions would not be present in an act because it would be bouncing to different characters. The most responsible person, Bobby, is given a low-angle shot to show power and authority over the children to protect them from child predators, visitors, and to keep them safe in his community. In motion of the picture the camera movement