BEASTS OF THE SOUTHERN WILD (Benh Zeitlin, Fox Searchlight, 2012)

What a remarkable film BEASTS OF THE SOUTHERN WILD (Benh Zeitlin, Fox Searchlight, 2012) turned out to be. I didn't have any expectations when I went to see it really; that it had been nominated for Best Picture was really my only reason to see the film. I hadn't heard anyone really talking about it so I had no pre-conceived ideas about the film before hand. I hadn't even read a synopsis of the film. I literally was going in cold but often this is best as you can let a film work it's magic on you. And that's exactly what this film is, magical. Not knowing anything about the film left me wondering a little about the direction the film was heading early on. Once I realized the unique point of view the narrative was coming from the film clicked. What an interesting perspective telling the story from the eyes of Hushpuppy (Quvenzhane Wallis). It allowed the fantasy aspects of the film to work perfectly within the narrative and it also helped identify us within a population subset at odds with the larger population we belong too. This is what struck me most profoundly as I watched. I knew that after Katrina there were segments of the population around New Orleans that didn't want to leave their homes. But the portrayal of the people of "the bathtub" placed these people firmly in my consciousness. How remarkable that these people exist. And while we absolutely cannot comprehend the way in which they choose to live it really must be recognized that to them, we are the crazy ones for choosing to live in the manner we do. The film did a great job of realistically portraying these families without subverting them and making them laughable and cartoonish. With the fantasy elements of the film this portrayal was critical to lending authenticity to the film. Another factor in the film appearing so authentic was the performance of Wallis. This little girl was amazing. Strong, independent and fierce, Wallis gives a performance truly beyond her years. Her chemistry with her father Wink (Dwight Henry) was intense at times and touching at others. The thought that kept racing through my mind as I watched the film is how daring and trusting the parents of Wallis must be. I also felt that Henry was great as Wink. I loved his role as the proud father; often at odds with his role and alway battling inner demons and alcohol. Benh Zeitlin really coaxed great performances from both Wallis and Henry. The films greatest work was done by Zeitlin whose direction was superb. I really liked the cinematography and the extensive use of steadi-cam and handheld camera work. The cinematography is in your face; it's gritty and real. I liked the choice to rack in and out of focus at various moments. All of these elements lend depth, credibility and realism to a mixing of genres difficult to blend together. Zeitlin's choices for score worked, particularly the southern appeal to the music. His work getting performances from two amateur actors is nothing short of remarkable. On top of all this he co-wrote the adaptation. All in all if he were to surprisingly walk away with the Best Director Oscar, I would have no problem with that at all. The film is really good and deserving of awards and accolades.