The Sweet East

It may not always hang together into a perfectly cogent social or political message, but it does feel like a fascinating series of vignettes about just how far we’ve all fallen.

The Sweet East reveals itself as an undeniably exhilarating ride, surreal and satirical, and not quite of this world.

Saltburn’s Jacob Elordi and The Bear’s Ayo Edebiri are the big draws in this ramshackle American satire that’s equal parts punk swagger and lazy repetition.

For all its to-the-moment social commentary, the film has roots in the anarchistic, surrealist 60s: Lillian could be a direct descendant of minxy troublemakers Marie I and Marie II from Věra Chytilová’s Daisies, reimagined for the TikTok generation.

Lillian’s our Alice, then; America a dark-mirror Wonderland. Pinkerton’s script thrusts her down so many of these rabbit-holes, it’s akin to a squirm-inducing tour of his browser history.

It’s the sort of lolloping, weird ride through society that’s a textbook example of the classical picaresque, in which a low-born, none-too-honest but appealing protagonist gets up to stuff.

There are a few stumbles along the way—mainly in The Sweet East’s messy and unsubtle navigation of modern America—but it is impossible not to be seduced by the film’s blend of gritty realism and trippy surrealism.

A satire of the United States through a Gen Z lens, Williams' film manages to capture us with its delirium, but oozes the type of humor and ideas of a half-baked adolescent... [Full review in Spanish]

Nothing more than a joyous celebration of chaos. [Full review in Spanish]

A film that makes chaos, mutability and creative freedom its dogmas of faith. [Full review in Spanish]