While James is away at AA meetings, Otis strikes up a relationship with his neighbor, Shy Girl (singer FKA Twigs). Otis and this woman are immediately drawn to one another, despite their age difference. They’re kindred spirits. This unorthodox interlude is a goldmine for Har’el and her DP, Natasha Braier (“The Neon Demon”), with the lighting and blocking taking a turn as these two characters grow closer. There’s a mythical, experimental quality to these moments. Cinematographically they exist, together, on a different astral plane. That is, until they have to return back to earth.
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Ultimately, heartbreak rules everything around “Honey Boy.” I don’t know if Har’el, a documentarian making her fiction debut, could tell LaBeouf’s story any other way. There’s a specificity to the proceedings, unfurling like a film written by someone who’s spent three decades trying better to understand his father and, in turn, himself. LaBeouf’s recreation is nothing short of miraculous. It’s a cinematic reconciliation, as LaBeouf grapples with a childhood he can’t escape. The impossibility of erasure is perhaps what forced him to write it down, but the film feels less like a confessional and more like an exorcism.
Har’el’s direction is assured and unpretentious. Her work in documentary film translates, as she unobtrusively captures the people of “Honey Boy.” The emotional space she gives Jupe, LaBeouf, and Hedges shows. Each actor has his moment to transfix the audience, and each seizes it. The sheer rawness of their performances is a testament to Har’el’s ability to create an environment where that’s even possible. To tell someone else’s life story — especially when it’s being told with such brutal honesty — is impressive. To do so with warmth, intellect, and vulnerability is a Herculean feat.
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