A Floridian Satantango*.
Both Satantango and The Florida Project:
Explore how a group of adults affects a child.
Pay particular attention to specific locations that were carefully scouted beforehand.
Completely immerse the audience in a culturally defined locale.
Tell its characters’ experiences through a series of intertwining vignettes.
Have a collection of foolish adults that remarkably stay sympathetic through various bouts of poor decision making because of the screenplay’s dark sense of humor and orchestrated flashes of humanity.
Use carefully constructed, long camera movements often centered around a walking character that increases the audience’s involvement in the progressing action of the characters (see the long walking travel out of the village in Satantango and the walk with the pedophile in The Florida Project).
Make the audience feel its length but never get “bored.”
Repeat the same music over and over and over again (Víg Mihály’s accordion-heavy bar song “Halics” in Satantango and the homogeneous trap music in The Florida Project).
Have a locational shift at the end that fulfills thematic rather than narrative promises.
So much rain.
I wish the film were longer (it needed to be four hours).
“Hey, I’m gonna... fix those machines by the end of the week.”
*A seven-hour Hungarian slow-cinema film directed by Béla Tarr; it is my favorite film of all time.