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Peaches looks after her devoutly religious father, but yearns for freedom. There's something sinister about it.

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As a child of the s, Korine grew up in the age of VHS. Tate is brimming with psychotic rage; Claude is habitually harassed by his brutish father and coddled, rather uncomfortably, by his enormously pregnant mother.

Shawn seems to be the most conventional. Aware of his status as the provocateur, Korine understands his movies aren't for everyone. There was a strange beauty in the analog.

Before filming, Korine shot lo-fi images of people in costumes late at night to help find his aesthetic. But they spend precious little time together and none of them seems to know much about one another's family lives.

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They began to resemble human form, beaten, abused and "very humpable. You almost have to squint to see things through the grain and the mist.

They're all rather tight, or trash humpers subtitulada online dating they claim. Everything needs to be so high-definition.

If there is some strong, palpable, raw quality in the moment then I won't question it. You could say these characters are poets or mystics of mayhem… comedic with a vaudevillian horror. Overhead lights beamed down upon the trash in a Broadway -style that Korine found very dramatic. It was just constant.

They don't have any bling to show for their gangsta cred, but the world deserves to know who they are.

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Production[ edit ] Walking his dog late at night in the back alleys of his hometown of NashvilleKorine encountered trash bins strewn across the ground in what he imagined as a war zone. They're tramps, and their wheels a Ken Park Ken Park focuses on several teenagers and their tormented home lives.

It's time to get gangsta gangsta. This bizarre dichotomy underscores their alienation the result of suburban ennui, a teenager's inherent sense of melodrama, and the disturbing nature of their home environments. He even flirted with the idea of "leaving the film on a sidewalk somewhere" [3] or place various parts of the film at different flea markets to be unearthed at random and eventually put together as a whole, but ultimately decided he would claim ownership when he realized the copyright could not hold that way.

At the film's premiere in TorontoKorine informed the audience that the title was to be taken quite literally and those likely to walk out were given due warning. He remembers his first camera, given to him by his father, and reusing the tape over and over again. We'd get these big tractor tires and make a nest to sleep in.

Like Julien Donkey-Boythe script was merely a collection of written down ideas. Korine cut the film on two VCRs to instill an approximate randomness. Not for what they do, but for the way they do it.

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Ninja and Yo Landi are wheelchair-bound lovers and real gangstas. They live in the outskirts of civilization, they shoot guns for fun, smoke massive joints, and sleep in the woods.

He has described them as "the neighborhood boogeymen who worked at Krispy Kreme and would wrap themselves in shrubbery, cover themselves with dirt, and peep through the windows of other neighbors.