A modern surreal classic, Gummo has become one of may favorite films of the 90s. It's transgressive, subversive, and has a distinct aesthetic that it uses to further it's messages of stolen youth and neglect. It's anti formalist and messy from a technical standpoint, but that only adds to its total auteuristic vision. The characters are repugnant, but their vile actions are offset with a distinct sense of melancholy
At the time I first watched it I would have given it a 4 or a 5. Tastes change, and the future impacts the past. It lost a couple of stars for the crap he's put out since and for the depictions of animal abuse. Depictions. The world is so mean now, that it's harder to watch cruelty.
Gummo/Korine are a mixed bag. I really love his storytelling style and parts of his aesthetic that take influence from lo-fi art, Godard, and Herzog. However, his hipster racism (that seems to hint at either verisimilitude a la Flannery O'Connor or some failed attempt at satire) is especially grating in this one. It reaches lots of amazing emotional highs and lows but ultimately seems hollow and mostly mean spirited.
"What I like about Gummo are the details that one might not notice at first. There's the scene where the kid in the bathtub drops his chocolate bar into the dirty water and just behind him there's a piece of fried bacon stuck to the wall with Scotch tape. This is the entertainment of the future." - Werner Herzog
Cuvântul care ar caracteriza perfect această producție turbată în regia lui Harmony Korine este depravarea. Gummo reprezintă o oglindă dureroasă, cinică, mizantropică, disperată, suicidală și pe alocuri foarte amuzantă a clasei de jos din America. Însă dacă ne amintim de copii împușcați de alți copii la noi, de minorii ucigași de la Strășeni - această oglindă ne reprezintă și pe noi. Death is all around us.
One of the very best films of the 90s. A film about absolutely nothing and everything all at once. This is humanity captured on film. There is so much honesty, love, and authenticity imbued into every frame. Korine has taken the concept of cinéma vérité and turned in to something he loves. If Dziga Vertov of grew up in middle America on a steady diet of MTV and drugs, this is the kind of film he would have made.
Gummo is a weird film, about as weird as it gets and is definitely not for everyone. But it’s my kind of weird, with rednecks, gay midgets, cat killing, eye-brow shaving weirdos. And Chloë Sevigny because she’s always in weird stuff. Crystal meth manifested into film and it’s an experience at the very least.