For better or worse, HBO’sThe Idol, which ends tonight after just five episodes (it was initially slated for six), has inspired a lot of discussion among the public. Due to show creatorSam Levinson’s alleged harboring of atoxic work environment, the series was immediately slammed with notoriety. The show’s negative reputation has only been magnified by its poor reception from audiences and critics. While the current product is underwhelming,The Idolis graced with an eclectic cast, includingLily-Rose Depp,Abel Tesfaye,Rachel Sennott,Hank Azaria, andDan Levy. A relatively unknown actor in the series,Suzanna Sonis an unmistakable presence. Two years prior, Son blossomed in the criminally underratedRed Rocket, the film bySean Bakerthat premiered at the Cannes Film Festival.
RELATED:‘The Idol’: Chloe Is Tedros' Most Tragic Follower
Sean Baker Does Not Judge the Characters of ‘Red Rocket’
Coming off ofTangerineandThe Florida Project, Sean Baker established himself as one of the most distinguished voices in independent film. From how the greater public identifies the concept of the indie filmmaker, Baker is an idealistic director. He is expressionist with the camera, blends formalism with realism, and engages with stories aboutoverlooked and disregarded people.Red Rocket, which was widely ignored during awards season and received a limited release in 2021 by the storied indie distributorA24, is the accumulation of all his talents and fascinations.
The film centers around Mikey Saber (Simon Rex), a washed-up former adult film star who returns to his hometown in Texas. Struggling to make ends meet, he hustles his way around the town, as he lives with his ex-wife and her mother, and relies on the distribution of marijuana for cash. One day, Mikey meets Strawberry (Son), a 17-year-old girl working at the counter of a local donut shop, and immediately takes a romantic interest in her. Following the mold of French New Wave films and 1970s New Hollywood character studies,Red Rocketis lacking in a rigid plot. Instead, Baker is concerned with following the livelihood of an aimless nomad in a documentary-like fashion.
The elephant in the room regarding the film is the depiction of a romance between a man in his 40s and a teenage girl, which quickly morphs into a sexual relationship between Mikey and Strawberry. While Strawberry is legally of the age to consent, the precarious feelings surrounding their relationship remain profound. An important mantra to remember when watching provocative films such asRed Rocketis that depiction does not automatically equate to condonation. The film is blunt with its portrayal of sleazy people, and Baker refuses to explicitly wag his finger in condemnation of his characters. Rather, he trusts the intelligence and maturity of his audience to recognize these problematic tendencies. However,the displayed behavior is never gratuitous. Coincidentally, this makes Baker the anti-Sam Levinson in this mold.
Suzanna Son’s Strawberry Is a Complex and Realistic Character
Suzanna Son’s compelling performance as Strawberry, which was nominated by the Gotham Awards and Independent Spirit Awards, is the dominant reason why the dicey circumstances inRed Rocketare digestible. When the camera first lays its eyes on her, viewers are enchanted by Son’s innocence. While undoubtedly a visually striking woman, Son is never a product of an explicit male gaze. As an employee at the donut shop where Mikey first takes his family and subsequently meets Strawberry for follow-ups, she is amicable to his charm. Baker restrains from playing these instances too hard into the direction of young, naive love on Strawberry’s part. The audience is more conscious of Mikey’s desperate bid to charm her.
Son complements the film’s authenticity, which is supported by Baker’s commitment to castingnon-actors in supporting roles. In her feature film debut, she feels plucked straight from this small town in Texas. Uncharacteristically, Son taps into the neorealist influences ofRed Rocketthanks to her true-to-life nature. There is a quality to her that is completely detached from the artificiality that can sometimes come from creative characters. This is precisely what causes Son’s rookie performance as Strawberry a breakthrough. The naturalism that she emanates on screen is a bonafide discovery.
The amorphous personality and lifestyle are attributive to Strawberry’s authenticity in Baker’s film. Instead of being defined by her aspiration towards a life and career of ambition, she operates from a perspective of humility, which, by proxy, makes her more human. As the story progresses, her aforementioned innocence is flipped on its head when she expresses her sexuality and interest in the world of pornography. She is constantly subverting the gender norms of women by attending a strip club with Mikey in one scene and singing and sweetly performinga cover of NSYNC’s “Bye Bye Bye” on pianoin the next.
The Off-Beat Tone of ‘Red Rocket’ Complements Suzanna Son’s Presence
Son is dialed into the off-kilter tone ofRed Rocket.A bitingly hilarious film that can suddenly shift into a cynical and downbeat examination of lower-class America, set against the backdrop of the impending 2016 Presidential election, Simon Rex and Son work off each other in satisfying both spectrums. The latter’s naturalism is employed in her swift ability to shift from unassuming innocence to sharp moxie. While Sean Baker confines the narrative through the scope of Mikey’s ne’er-do-well misadventures, Strawberry catalyzes the story and the character’s reconsideration of career aspirations.
Mikey is inclined to operate selfishly, as indicated by his relationship with Strawberry evolving into using her to emerge back into the adult film world. However, the audience is cognizant enough to be assured that Mikey will squander any opportunity given to him, especially when paralleled with Strawberry. Despite the age gap, the two are in similar statuses financially and career-wise. Strawberry lives patiently and earnestly, but Mikey is blinded by his ego and predisposition to hustling others around him. Son’s work in the film cementsRed Rocketas a character study rather than solely an exhibition of the fetishization of themisery of lower-class America.
There has been a discussion brewing in the film community regarding the lack of stories about contemporary life, especially from our most revered filmmakers. While technically a film set in 2016,Red Rocketloosely captures the spirit of Generation Z, which is embodied by Suzanna Son’s performance. From her appearance, idiolect, and approach to living, the character of Strawberry exclusively belongs to the generation of the future. Her presence made her an ideal candidate for Sam Levinson’s (orAmy Seimetz’s) vision forThe Idol, but to experience Son’s charm and gracefulness at a nuanced and understanding level, watchRed Rocket.
