What you should know about this film?
First, the project proved to be an excellent starting point for Arielle Holmes. The plans for Joshua Safdi was another creative idea, but once you meet at the entrance to the metro Ariel, a young Director decided to shoot the story of her life. To this end, she first wrote short memoirs (Russian translation, unfortunately, not find them), and then began shooting, in which Holmes had taken an active part, speaking in the lead role. Thus, Joshua and Ben Safdi gave a start in life for the former addict, have wantonly wandering around new York and proigravshie life in those places do not agree well ordinary people.
Second, since the brothers Safdi changed the vector of his work, fully concentrating on the heavy, vital, uncompromising dramas. This is not “the Pleasure of being robbed”, where the heroine everything was easy and simple, and not “Go get some rosemary”, a story about a father’s love and being more of a tragicomedy. “God knows what” too much blatant, almost documentary realism, capable of some truly terrifying, and others to instill a sense of awkwardness from the situation, hiding behind a true curiosity.
So why is the film is more good than bad? There isn’t a clear plot, there is only the biography of a fallen world, which we so shy on city streets. You can just get out of the house far, near and meet people, have lost and not knowing how to get out of perpetual poverty and destruction.
And a good primarily by the fact that honest. We are immersed in the habitat of drug addicts and homeless people of new York to head to after going through the hell of their existence, to try to better understand who they really are. Along with Harley (the prototype of which is the notorious Ariel Holmes) we are a terrible, treacherous, crazy love, is not easy to understand, not wait, not knowing pity.
It all looks so authentic and vivid that repels and attracts at the same time. Why not take Safdi so expressive, throbbing, a special film language, by reading which, one may grumble about the absence of explanatory history, but is contraindicated to disagree with the authenticity of what is happening, crashing into the brain from the first to the last frame.
How much like Ariel/Harley roams the alleys, sleeping under bridges, stealing in shops cheap glue? I can’t count. However, if at least one drifter from thousands of fate suddenly throws a lifeline this is a powerful reason to rejoice. In the film an open, but not optimistic ending, but in life the heroine was absolutely different.
I will assume that justice still exists and is responsible for it first of all we do.
7 out of 10