Zola is pure, uncut black market Florida. Like Sprinbreakers or Florida Project, it IS the state incarnate - or at least what's so endlessly scrollable about it). It's also a riotous funny dark comedy about how uncanny and gross the sex work world is (visa vi Backpage and so on), but also how black women always seem to have to come to the emotional and physical rescue of white women. And ironically as much as I love Paige and Keough's performances here (the latter sounding like she listened/watched a lot of Nikki Minaj's Anaconda song and or video, a fully sincere compliment), Braun - Greg from Succession, a true treasure at playing dumb and awkward, and Colman Domino's X (and his going between two accents just ::chefs kiss::) are stunning in their perfection of identifying an authenticity of these people. That's the key here: as wild as this gets, we always believe the people... at least as far as Zola's oh maybe 85-90% reliable narrator takes us.
I do wonder if this will have the same punch once the surprise wears off on a repeat viewing, but for now I can bask in the glow of this magnificently directed and truly modern comic exploitation yarn. The secret MVPs here though are the background detail players, like the two kids repeating the same basketball moves on the balcony at the motel or the couple performing whatever the hell music that is in the hotel lobby when Zola comes storming in.
I do wonder if this will have the same punch once the surprise wears off on a repeat viewing, but for now I can bask in the glow of this magnificently directed and truly modern comic exploitation yarn. The secret MVPs here though are the background detail players, like the two kids repeating the same basketball moves on the balcony at the motel or the couple performing whatever the hell music that is in the hotel lobby when Zola comes storming in.