As she did with Fish Task (2009), director Andrea Arnold has justifiably put her faith in a young, first time actress to encapsulate the despair, confusion and danger of a young woman escaping the world beyond her impoverished beginnings in American Honey (2016). Arnold, venturing to the U.S for the first time, has crafted a dazzling, mesmerising freeform road movie that sees a young woman, Star (Sasha Lane), living in poverty, being sexually abused and lumbered with two young children, before jumping at an opportunity to escape her life.
In her small Oklahoma town, Star spies a joker, a charismatic stranger, Jake (Shia LeBeouf), causing a stir in the parking lot of a supermarket. It’s a case of eyes meeting across a void and sensing a spark. The inevitable encounter leads to a proposition of work for Star from Jake who, with a ragtag, eclectic crew of ‘colleagues’, is heading to Kansas City the following day. Ditching her oppressive existence for the chance of a fresh start requires little deliberation and within she has dropped the young children with their natural mother and fled for the group’s hotel.
The next day, with little time to get a bearing on her new surroundings, Star is quickly indoctrinated into the fold of these magazine subscription sellers who must adopt any angle, cover story or other means of deception whilst doorknocking in affluent sections of cities to procure sales. The operation is the brainchild of Krystal (Riley Keough) who, running a tight ship whilst indulging in hedonistic activities on the side, tolerates nothing less than people who can genuinely earn their way. As the new blood, Star is assigned to Jake, Krystal’s personal assistant and top earner, for mentoring.
The chemistry between the two leads is genuine, setting off a strangely intuitive yet combative relationship that, frowned upon by Krystal, has a doomed inevitability about it. Both lead actors are nothing short of sensational. For LaBeouf this part is a gift, clearly the most interesting of his career, whilst Lane astonishes in her screen debut; she possesses an at times overwhelming physical presence and shines in many of the film’s finest sequences in which Star is seemingly placed in jeopardy as she assumes more individual responsibility for sales. Arnold’s has conceived some hypnotically terrifying moments, pregnant with dangerous possibilities and a palpable sense of Star’s vulnerability despite her bravado and willingness to take calculated risks.
Arnold continues to prove herself as a formidable talent. In the light of American Honey, her last film, a magnificent bleak skewering of Emily Bronte’s Wuthering Heights (2013) can be viewed as the next step of her radical evolution as a filmmaker unafraid of spiking convention, narrative form and visual grammar. One of the most remarkable aspects of this, her fourth feature, is her continuing collaboration with cinematographer Robbie Ryan, an equally fearless artist whose eye-popping immersion in Arnold’s world brings forceful scrutiny and a rare sense of authenticity. All the silliness, boredom-relieving silliness, idiocy, intensity and careless but genuine camaraderie shared between members of the group are captured with a purity that organically dissolves into captivating visual poetry.
American Honey is a dazzling, creatively daring film; it’s not only Arnold’s finest to date but one of the 2016’s most memorable and, sure to be, enduring cinematic achievements. Even at around 160 minutes it remarkably never feels overdrawn or bogged down in extraneous scenes for even a moment, and with a canny usage of source music, ends up creating a slew of scenes that will linger in mind for days after.