Beasts of the Southern Wild

Shot in 16mm, with a cast of mostly non-actors, in an area of the US that feels not only like another country but almost another planet, this unique little movie is alive with humanity and a palpable sense of place. Based on a one-act play, the film is an unusual mix: part neo-realism, part magical-realism, part Southern-gothic, and part trippy road movie. The lead actress, five-year-old Quvanzhane Wallis, gives what may be the best child performance since Mary Badham in To Kill a Mockingbird—or it may just be a well directed fluke.  It’s very hard to categorize this movie, but that is certainly one of its strengths.

The film comes to us fresh from a big splash at Sundance. It depicts a human ecosystem that is dysfunctional but can nevertheless survive whatever the natural ecosystem throws at it. Although it references timely issues like social responsibility in the face of flooding levies, its timeless qualities—especially its child’s eye view of life—are what make the film stick. The evocative score, co-composed by the director, stayed with me even longer than the film’s imagery. Beasts is a bit like cultural tourism for art-house swells, but it’s trip worth taking.