American honey,Yet there is much that is valuable in the film: a sense of mood and space, interesting ideas and a tense triangular dynamic between its chief characters. The title is taken from Lady Antebellum’s country single which is collectively, sentimentally sung by the cast towards the end of the film – atypical, to say the least, as most of music they’ve been listening to has been hardcore rap.

Release Dates 
France 15 May 2016 (Cannes Film Festival) (premiere)
USA 30 September 2016 UK 14 October 2016

Runtime: 162 min

Country: UK | USA

Language: English

Star, a teenage girl with nothing to lose, joins a traveling magazine sales crew, and gets caught up in a whirlwind of hard partying, law bending and young Love as she criss-crosses the Midwest with a band of misfits Shia LaBeouf was injured on set while doing a stunt that involved him smashing his head through a window. He ended up with stitches on his hand and head.

Mere minutes into “American Honey,” her scrappy, sprawling astonishment of a fourth feature, Andrea Arnold hits the audience with a song choice almost too perfect to work. As a girl’s gaze meets a boy’s across the packed aisles of a Midwestern Walmart, the euphoric EDM throb of Calvin Harris and Rihanna’s 2011 smash “We Found Love” hijacks the busy soundscape, setting a love story emphatically in motion by the time he hops up to dance on the checkout counter. “We found love in a hopeless place,” the song’s chorus ecstatically declares, over and over, as well it might — does it get more hopeless than Walmart, after all? It’s a gesture so brazenly big and romantically literal that it can’t help but have your heart, and it’s such an early, ebullient cinematic climax that Arnold dares repeat it two hours later, cranking up the song again in a more fraught, nervous context. Like much of what the director risks in “American Honey,” she shouldn’t get away with it, but most defiantly does.

Of course Arnold would opt for this song. Be it within the soiled towers of Associate in Nursing county council estate, the wind-whipped moors of Emily Bronte's geographic area or, now, the truck stops and picture palace motels lining America’s highways, finding love in an exceedingly hopeless place — or a minimum of a little of rapture amid the scrap — are some things of a continual theme within the British director’s work, although she’s ne'er antecedent committed thereto in quite such sensual, saturated fashion. half dreamy period dishonorable, half distorted tapestry of Americana and half delicately illustrated iTunes musical, “Honey” daringly commits solely to the loosest of narratives across its luxurious 162-minute period. nevertheless it’s perpetually, enterprisingly active, spinning and sparking and exploding in cycles sort of a Fourth of July Catherine wheel: If Jacques Audiard’s “Rust and Bone” hadn’t already claimed medium possession of Katy Perry’s “Firework,” Arnold may competently have thrown that one onto her list too.