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Recently, Lunanola and I went to see Beasts of the Southern Wild which, as most of you know, is a locally produced film with local actors. This is not so much a review of the film as just an assortment of my thoughts during the movie and in the days following. Indeed, Beasts is a grand over-the-top gothic fairy tale as told by a child called Hushpuppy whose imagination runs wild with the stories told to her by her alcoholic father, Wink. They live on a mythical swath of land off the Louisiana coast called The Bathtub by its inhabitants, a small community of people living on the edge of civilization.

Beasts reminds me of poetry in that the poet tells her story in such a personal way that the reader may never grasp its deepest meaning. The reader reads the poem, or story, through the lens of their own life experiences, often completely missing the poet’s intent. And that’s ok – it doesn’t negate the meaning of the work but enhances it by expanding and challenging the reader. The same can be said of this film and how I feel about it. I didn’t read any reviews before seeing the film because I didn’t want any other opinions influencing, even subconsciously, what I was going to see on the screen.

Having said that, I found myself wincing through much of the film; reacting to the squalor of Hushpuppy’s existence, the harshness and obvious mental illness of her father and the rampant alcoholism of most of The Bathtub residents we met. I didn’t see this isolated community largely as a celebration of a self-sustaining culture as much as the smaller stories of a few delusional souls, who’ve long since forgotten the real meaning of community, compassion and care, barely hanging on by their fingernails to a dysfunctional life. There was more about Beasts that bothered me than delighted or awed me and maybe that’s the film makers intention. In any case, it gives the viewer much to ponder.

I felt sad for Hushpuppy and the absence of a positive adult figure in her life except for an apparently cursory relationship with Little Jo (played by Pamela Harper), the resident Shaman, who taught the local kids about medicinal herbs, the flora and animal life in The Bathtub and the importance of being good stewards of the land and water. (Thank you for portraying her as a real three-dimensional healer instead of the stereotypical Voodoo queen!) She was the only positive, grounded character in the film and the only adult who attempted to prepare the kids for a real life instead of encouraging a life based on fantasy.

The interaction of people with each other, and the cause and effect of that interaction, has always fascinated me. I suppose that’s why I focused so much more on this aspect of the movie, while I was actually watching it, over the surrealism and symbolism the film was obviously pushing. In retrospect, though, the symbolism and subsequent cautionary tale is a vital part of what makes this movie unique. For instance, although I found the glacier avalanches jarring and somewhat disruptive I can acknowledge the part they played in the tale and beauty of the cinematography.

Generally, I thought the acting by all of the actors to be just about perfect. There’s a lot of Oscar buzz around this film and Quvenzhane’ Wallice, who plays Hushpuppy, and it appears she’s the darling of the Indie film set this year. There’s no disputing the child has a beautiful and expressive face but I always felt like someone was just out of view saying, “Now look fierce; now cry; now act crazy”. For me, Dwight Henry, who played the dad, was pretty incredible. I felt like he WAS the person he portrayed with all the nuances and warts of his character’s personality played completely naturally and believably. Children are so close and open to their emotions that I think most of them can act simply by following directions. But adults have to peel away layers of their own experiences and feelings to find the place where a character can come out. For this reason, I think Dwight was the better actor in this film and it’s a shame his achievement is being overshadowed when it should be equally acclaimed.

The cinematography was magical and pleasured us with torridly beautiful landscapes and seascapes. The manipulation of ordinary pigs into the hulking, mythical aurochs was nothing short of genius.

This movie had parts that I loved (Miss Jo with the kids) and parts that I hated (mamma shooting a gator while naked except for huge white diaper-like panties – WTF?). It made me laugh (the joyous fireworks scene) and cry (the death scene). In the end, I still can’t say if I “liked” it or not; I can only say it was a wild and interesting ride.

However, the most amazing aspect of Beasts is that it was made at all on the hand-to-mouth budget that produced it. The creativity of the film makers and the ingenuity required to make it is impressive and showcases the best this city has to offer artistically. That makes me proud to be a New Orleanian and, ultimately, happy I watched the film.

(And I’m still processing it.)