![into the waves trailer into the waves trailer](https://imgsrc.cineserie.com/2021/03/into-the-wild-sur-cherie-25-decouvrez-les-dessous-du-mythe-selon-la-soeur-du-heros-4.jpg)
Rather less attention, however, has been paid to another integral part of the film the stunning cinematography from Drew Daniels who, working with Shults, created a visual arc to mimic the film’s narrative structure. On a less sceptical level, however, Ocean’s reflective, introspective songs provide the perfect canvas for the abundant emotion and pain being explored here. Much has been made of Waves‘ use of Frank Ocean’s discography largely because the artist is so difficult to pin down that it certainly wasn’t a give-in that he would authorise his music for use. The action seems to speed towards destruction and it’s hard not to feel blindsided by the events unfolding - as Sight & Sound put it “stakes seem so high that it seems such immense displays of emotion are determined to swallow the viewer whole.” Viewers are thrown a life jacket, however, as the film’s second half pulls back from the crashing waves and opens up to gentler tides. Whilst the film begins with scenic wanderings across the South Florida landscape and the minutia of middle class America, Harrison’s tour de force performance carries the film’s escalating intensity as his character’s perfect existence begins to unravel with irreversible consequences. Few films typify this quite like Waves, the forthcoming A24 release from director Trey Edward Shults and a family drama that zooms in on the claustrophobic existence of Tyler (Kelvin Harrison Jr) a young teenager burdened with the pressures of school, sports and, as The Guardian explicates, narratives around Black excellence. Whether it be the quiet devastation of Moonlight or Spring Breakers’ reckless youthful boredom, the mark of an A24 release is its ability to inhabit the inner emotional world of its characters inviting the viewer into this space as well. There’s certainly an openness towards experimentation, in both form and cinematography, but there’s also a deft attention to feelings. These films are varied, yes, but they do have certain things in common. Over the course of the 2010s, the film studio A24 emerged as the defining voice in the independent cinema of the decade yielding us gems like The Florida Project, Ladybird, Spring Breakers, The Farewell, American Honey and, of course, Moonlight.