Andrea Arnold: Review and Analysis
Academy Award-winning filmmaker Andrea Arnold, who has earned three Jury Prizes at Cannes, multiple British Independent Film Awards (BIFA), and a BAFTA for Outstanding Debut by a British Writer and Director, has once again been nominated for her film Bird (2024). The film had its world premiere at the 77th Cannes Film Festival on May 16, 2024, starring Franz Rogowski, Barry Keoghan, and as usual a newcomer Nykiya Adams in the lead role.
-What’s it gonna be?
-I don’t know yet.
(Red Road, 2006)
Arnold is fascinated by the idea of sculpting, of not knowing what the piece will be. Her approach to writing is similar: “When you start writing something, I feel like it does already exist on some level and it is about finding it”. Her films often deal with the subjects of pain and suffering in chaos, misunderstood characters, sexuality, decisions and consequences, entrapment, women on the edge and freedom.
Arnold’s characters are much more than simple victims of society; the world is closing in on them. Her truthfulness and authenticity in understanding details make her writing complex and raw. In one of her interviews, she mentioned that when people come up to her with themes and symbols in her films, it makes her happy because she did not purposely include them. She did what she felt like without thinking about possible themes which often revolve around social realism in independent aesthetics.
“PERFECT FRAME FOR A PERSON”
Arnold’s favourite style to shoot is in the open-matte Academy ratio, 1.33:1 or 4×3, reflecting how she views the world behind the camera. The handheld shots add more intensity to the frame, creating a raw style that highlights small gestures and gives a better understanding of the details. The restrictive frame also implies the entrapped lives of her characters, directing the viewer’s focus only on them and moving away from unnecessary distractions. These close-up shots offer a sense of intimacy and suffocation where the camera is never a third person. Only Red Road, her debut, was shot in the traditional way which was directed under the Dogme 95 style.
Arnold has frequently worked with cinematographer Robbie Ryan, whose work complements her style and contributes to the aesthetic of her films
“It’s a very respectful and beautiful frame for one person. It gives them a lot of space. You can frame one person in a 4x3, and it gives them a lot of humanity.”
CAST AND CHARACTERS
For her, the authenticity comes from casting. She is known for introducing new talent through her films, they are everyday people with everyday problems. These unprofessional actors create the characters and their strong performances drive her films. For Fish Tank, Mia, Katie Jarvis was given a chance to audition after one of the casting directors saw her arguing loudly with her boyfriend. She fit the role. “Although Katie isn’t Mia, she’s got the vulnerability and also the spirit of her,” said Arnold. Similarly, for American Honey, Arnold used a mix of actors and non-actors, calling it street casting. The actor has to have somewhat of the character to naturally play it.
“If you cast close to what you’ve written, then you’re almost there. I’m not really wanting them to be anything other than themselves.”
There is no specific order to watch Arnold’s films, but from her short films to her feature-length projects, you can easily trace her evolving ideas and improvement. Each film builds upon the last, offering a deeper understanding of her cinematic explorations. I’ll be reviewing three of her short films and three of her feature films, followed by a deep analysis.
MILK, 1998
Duration: 10:00
-You need to say goodbye.
-I didn’t even get to say hello.
Milk is Arnold’s written and directed debut short film which deals with the themes of loss, grief and motherhood. It begins with a couple making love and then cuts to the pregnancy, leading to a miscarriage. From here, we see how differently the couple reacts to their loss. Hetty, played by Lynda Steadman, is unsure of how to cope and acts on her motherly instincts. Instead of attending the funeral, she aimlessly wanders the streets and gets with a young boy. The tension builds through subtle remarks which ends with an uncomfortable scene.
★★★★★☆☆☆☆☆
DOG, 2001
Duration: 10:00
-There’s plenty more where you come from, darling.
Arnold’s passion for troubled teen girls begins with her short film Dog, it is like a mother to her later feature films, Fish Tank and American Honey. After stealing money from her mother, the girl goes out to meet her boyfriend, an addict. Animals have been recurring symbols in Arnold’s films and they start with the Dog, she uses it for multiple metaphors. The short film explores themes of abuse, sexuality and the desire for validation and love.
★★★★★☆☆☆☆☆
WASP, 2003
Duration: 26:00
-Mom! Mom!
There is a wasp in Kai’s mouth
A pattern of obsessing over flawed mothers. Oscar-winning short film Wasp is more than a kitchen sink drama; it has elements of social realism and explores themes of loss of youth, motherhood and responsibility. The director works around poverty in most of her films but doesn’t make it the main highlight. It is part of the environment which is in and out of focus. A young woman struggling to care for her children wants to be more than just a mother. Her regular days change when she encounters an old acquaintance from her youth. Arnold chose to return to her hometown, Dartford to shoot the film, adding an extra layer of authenticity.
★★★★★★★☆☆☆
RED ROAD, 2006
Duration: 01:53:00
-This shit happens every day. That’s life.
Red Road is the first film in the trilogy of the Advance party project. The concept emerged from a discussion among Lars von Trier, Berrie, Scherfig and Jensen. Scherfig and Jensen created a list of characters with backstories, which was given as a challenge to three promising directors, who were to use these and build different stories around them largely under Dogme 95 principles. This was Arnold’s feature film debut produced in collaboration with Lars von Trier’s production house, Zentropa.
The story revolves around Jackie, Kate Dickie who works as a CCTV security operator for the department. One day, she spots a man on her screen and from there begins her pursuit driven by memory and desire. We see Clyde, played by Tony Curran through Jackie’s eyes. The viewer is not given any information regarding why she is obsessed with Clyde. As the plot unfolds, we make assumptions about the situation until the end, when all is revealed of their fractured past. The film explores both, of someone who inflicted the pain and the person left behind after a tragedy.
★★★★★★☆☆☆☆
FISH TANK, 2009
Duration: 02:03:00
-I don’t know what’s wrong with you?
-You’re what’s wrong with me!
Refining her idea of dysfunctional mothers and troubled daughters, Fish Tank features 15-year-old Mia Williams, who is in constant need of being something more than what her environment sees her as. Her already transitioning adolescent life is altered when Connor, played by Michael Fassbender comes into their family. To Mia, he makes foreign areas of life and landscapes seem possible. Again, choices, decisions and consequences are central to Arnold’s film. The mother-daughter relationship is forever complex, but the neglect does not define their dreams or stop them from liberating themselves.
★★★★★★★☆☆☆
American Honey, 2016
Duration: 02:43:00
-You got anyone who’s gonna miss you?
-Not really.
Wondered what it’s like to live on the road? American Honey, a film under A24, takes us on a journey with Star, played by Sasha Lane, a young teenager, into the lives of a mag crew. Struggling to live, her life completely changes when she meets Jake, Shia LaBeouf and gets a job offer to sell door-to-door magazines while travelling, partying doing whatever as long as she’s a good earner. We follow Star in a ride filled with constant motion and an uncertain future. It deals with themes of the American dream, disillusionment, freedom, and the struggle to find belongingness.
“A struggle for independence in a situation of utter dependency” -TheNewYorker
The film was shot on a 12,000-mile road trip, featuring mostly improvised scenes by actors and non-professionals. Filmed in the Midwest with a documentary style, it is directed with light and sound, pushing you into the mood and setting of the film. Arnold’s use of music is what drives the film, it is the action.
★★★★★★★★☆☆
“TRAGEDY, COMEDY, LOVE AND SQUIRRELS”
Across her films, Arnold consistently explores certain subjects and themes. Following is an in-depth analysis.
⚠ SPOILERS AHEAD
1. Sexuality and desire
Sex for Arnold is free and complex. The desires that stem within the characters and when they act on it mark important points in the story. It is normal yet necessary. Her films often have graphic visuals which might upset some people because, is it really necessary to show the whole act? She does not fetishize or romanticise the scenes, they are raw, uncomfortable and awkward.
In Red Road, sexuality is intertwined with voyeurism, grief, and revenge. Jackie’s relationship with Clyde becomes complex because of her innate desires, blurring the lines between genuine interest and an unhealthy fixation. While getting close to him she tries to find revenge, redemption and a connection through trauma. Their sex scene shows this complexity and what she’s trying to achieve through this, his erection and her orgasm are necessary. That is why when she decides to drop rape charges it is not just for the sake of his daughter but there was a realisation of some sort. Again, who would seek revenge for the death of a husband and daughter through sex and rape?
For Fish Tank, we explore this theme with Mia, who for the first time understands touch is not always violence through Connor. Her sexual journey is influenced by her mother and Connor, with Mia’s desire for adulting as she witnesses their relationship. Connor’s manipulation awakens a longing for a parental figure and physical connection in her.
In youth, teen rebellion, sexuality and freedom are well connected. American Honey, uses sexuality and desire for connection, freedom and as a tool for manipulation and money. Star and Jake’s relationship is not romance, it is the innocence of Star which Jake manipulates while he himself is controlled by Krystal. Sexuality and desire in the film are not only about personal relationships but also about a deeper yearning for freedom and self-discovery.
“Sex is such a big part of life, and I want to show it in a way that is true to the character and the situation.”
2. The Women
The women of Arnold are hungry for attention, freedom, identity, connection and survival. This hunger leads them to make questionable decisions with complicated consequences. It is the mothers who build the characters of their daughters in the films. They are abusive and negligent which forces the girls to make rash decisions as opposed to the abuse and lifestyle.
Jackie and Hetty: Dealing with grief and trauma both the characters are driven by their need for healing and closure. In Milk, after the miscarriage, Hetty doesn’t know what to do with her body which craves to feed the child which was never born and tries to find closure through a boy. Red Road’s Jackie is also grieving her loss of family and is on a journey to find peace through revenge. Both are vulnerable and find ways to cope in their worlds of isolation and loneliness. They confront their emotional challenges and strive for understanding which leads to the question of — “Are their extreme reactions a genuine product of grief?”
Suzanne and Joanne: The mothers don’t realise they are not teenagers anymore, they had children when they were young themselves and didn’t understand when those days turned them into mothers. It is the tension between parental responsibilities and personal aspirations. They are flawed and struggle with financial and emotional instability. Suzanne in Wasp, defends her children and is aware of her responsibilities. Whereas Joanne is a distant mother who is not emotionally involved with her daughters. Despite the chaotic and harsh realities of their lives they seek control. They are not the villains but the ones who are forever trapped.
Mia and Star: Hunger for recognition and to escape the limited environment, Mia and Star represent the confused youth with simple dreams. In Fish Tank, Mia’s story takes place in restricted surroundings that she wants to get out of and be seen. There is a constant struggle in her life to get out while in American Honey, Star makes it out and is able to live however she wants. Both are on their separate journeys and to them the open road represents freedom. Arnold provides an empathetic exploration of the complexities of growing up in difficult environments through her women.
“I try and be truthful”
3. Animals
Arnold’s love for animals is evident in her films. They are clear symbols which often reflect the emotional state of the characters. This constant motif also highlights her sensitivity towards the emotional lives of her characters and their environments evoking a sense of empathy.
In her short film Dog, Who was the dog? The ragged unwanted dog is the same as the girl who no one wants and is abused whenever others please. In the end, after her boyfriend kicks the dog to death, leaves and what happened affects her emotionally so when she goes home and faces the same treatment from her mother she too barks. In Europe, the act of sex in public is jokingly called dogging, a British slang and her boyfriend doesn’t treat her any better. Arnold knows people react to animals being harmed than to humans and she uses it to create sympathy.
Similarly, in Wasp and Fish Tank, she uses the wasp and the horse to show the entrapment of Suzanne and Mia’s want to be free from the chains that bound her to the same place. The horse that she wanted to free was the same age as Mia and supposedly lived a good life. In Red Road as well, Jackie’s fondness towards strangers’ dogs and observing them is the same as her longing to care for something, be it a child or a dog.
In American Honey, animals are used to symbolise Star’s connection to nature and her instinct to survive as a stray. The fireflies she releases represent her desire to escape and be free. Any other animals she encounters reflect her challenge for survival and the instinctual drive to find safety and stability. What do you think about the turtle which Jake gives to Star at the end of the film?
Arnold takes creating this sense of empathy and makes it whole in her documentary Cow (2021), which features the life of a dairy cow named Luma. As we see more of Luma we start to understand her and make a connection which encourages viewers to reflect on themselves.
“Our relationship with the millions of non-human lives we use is very much part of our existence”.
4. Music and Dance
Music and dance, to the director, are not just background elements but narrative tools that highlight the emotional state of the characters. They act as instruments for expressing their inner lives, social environments, and deepest desires.
“The music…is like a character, and it’s very much part of the story. And then it’s storytelling, music, on some level.”
‘California Dreamin’ by Bobby Womack is about longing and escape, contrasting with Mia’s dreams and reality. The song Connor introduced in her life which became her anthem soon turned into a trauma association. ‘Life’s a Bitch’ by Nas draws the film’s theme and deepens the audience’s understanding of Mia and her resolve to keep pushing forward.
Arnold often writes music into the script and changes some of it later if needed. She complies the kind of music that fuels the characters’ drive while using it as an element to push the plot forward. Her experiment with music in Fish Tank is taken further in American Honey. For this she listened to a lot of music from the cast and everyone, she was reluctant to find things that worked for the “truth of the film, but also worked for them, emotionally”. Some may find it overused but what is a road trip without music?
Songs like Rihanna’s ‘We Found Love’ and Bruce Springsteen’s ‘Dream Baby Dream’ become anthems for the group, symbolizing their unity and shared quest for meaning while others are used to reflect characters’ rebellious spirit and confidence. The song ‘American Honey’ concludes the film. Its nostalgic tone and references to a “sweet American honey” evoke a sense of lost innocence, a desire to return to a simpler, more innocent time while struggling to find their place in the world and holding onto their dreams and ideals.
“When you’re working with cameras and actors, it is a bit like putting movement together and it reminds me of dancing, the choreography between actors and cameras.”
Dance serves as a powerful form of expression, connection, and escapism. In American Honey, it is merely used to capture the carefree lifestyle and to portray a sense of freedom for the characters. But in Fish Tank and Wasp dancing is also used for finding and building connection. Suzanne dancing with her kids outside the pub reflects her desire to escape the problems even if temporarily and give fleeting happiness to the kids.
Mia is not exceptional at dancing and will not fulfil her dreams but that is the point. It is something of her own, in her life, she is defensive about everything and everyone but is vulnerable when it comes to dancing and Connor uses this to manipulate his way into her life. In the end, we see the family dancing together to bid farewell to Mia, for once there is no conflict, there is hope, reconciliation and a connection, probably the only time we see a little affection in the family.
