Red Rocket (18)
Directed by Sean Baker
 

CRITICALLY acclaimed indie filmmaker Sean Baker serves up another fascinating slice of working-class life on the margins in this captivating dark comedy set in the fateful summer of 2016 against the backdrop of the US presidential election campaign.

His follow-up to Tangerine and The Florida Project centres on washed-up porn star and suitcase pimp Mikey (Simon Rex), who crawls back to his estranged wife Lexi (theatre actress Bree Elrod in her first film role) and his Texas hometown.

Unable to find employment, he returns to his old ways selling drugs for the local kingpin (Judy Hill) and sees his opportunity to go back to the big time when he is spellbound by 17-year-old Strawberry (impressive newcomer Suzanna Son), who works at Donut Hole (a real shop), who he believes could become the next superstar in the adult film world.

He duly tries to groom her while keeping sweet Lexi and her no-nonsense mother (local discovery Brenda Deiss), with whom he has moved in.

Mikey is a low-life hustler, a malignant narcissist with delusions of grandeur who lacks any moral compass or introspection — remind you of anyone? — and who is prepared to exploit even a teenage girl for his own personal gain.

Yet Rex gives him an innocent, boyish demeanour and makes him exceedingly charming and likeable in a career breakout performance.

Shot on location, like Baker’s previous films, and guerilla-style with first time actors — many of them local residents — it shines a light on the excesses of the United States on the cusp of the Trump era and the exploitation of ordinary people faced with few choices as they try and scrape a living.

It is also a mesmerising, character-driven drama carried brilliantly by Rex — in every scene — and a newbie supporting cast from whom Baker obtains fantastic performances.

Although none of the characters have any redeeming qualities, they have their own charm and you find yourself rooting for them — even Mikey, who receives the comeuppance he deserves from a surprising quarter.

As always, Baker leaves the ending up for interpretation.

Maria Duarte
In cinemas