Director: Sean Barker
Starring: Kitana KiKi Rodriguez, Mya Taylor, Karren Karagulian, Mickey O’Hagan, James Ransone
Running Time: 1 hour 28 mins
Release Date: 12th November, 2015
As you scan a room, any room, it doesn’t take long to spot somebody with an iPhone settled firmly into their palm. Some of us plan our daily errands with them, pay our bills, listen to music and even take a selfie or two. STARLIGHT director Sean Baker took one step further and filmed his hit feature TANGERINE on his; with the film getting its premiere at this year’s Sundance Film Festival.
TANGERINE tells the big and brash story of transgender prostitutes Sin-Dee (Kitana Kiki Rodriguez) and Alexandra (Mya Taylor) as they work the streets of Hollywood dealing with the highs and lows of life in Tinseltown.
On Christmas Eve, Sin-Dee meets her best friend, Alexandra, after a twenty-eight day stint in prison only to hear the news that her boyfriend and pimp, Chester (James Ransone), has cheated on her while she was away. Sin-Dee starts a one woman mission to find out the truth and track down the girl (Mickey O’Hagan) who Chester has been sleeping with.
Meanwhile, down to Earth Alexandra is trying to round up excitement for her looming performance at a local club and an Armenian cab-driver (Karren Karagulian) soon finds himself entangled in the girls’ drama, putting his family life at risk.
With the sharp glare of LA’s sunshine beating down of the grimy streets of Hollywood, the film has an oddly beautiful, gritty style to it; with the bright colours of the local motels, corner stores and donut shops popping out at you throughout the narrative. Despite just donning an iPhone for filming, Barker manages to create a sophisticated, cool and electric film that vibrates with colour and creativity. The film’s soundtrack is equally as vivid, with the mix featuring the likes of DJ Lightup and DJ Heemie, White Night Ghosts, Duwell and the Burn Nix Quartet. The brilliant mix makes a banging soundtrack that really works well with the often flashy but realist aesthetic.
What’s so great about TANGERINE is that it is not at all a gimmick flick. The usage of iPhones to make the film doesn’t deter from the brilliance of the story and much of that is down to the brilliant screenplay from Chris Bergoch. He’s created a narrative that is both touching and witty, all while blending with startling drama to create an exquisite story of friends and foes.
The story suggests that a bigger budget, bigger equipment may have stifled and suffocated such a intimate glimpse into the girls’ lives and so it’s with great joy that one fines a brilliant narrative and a novel film-making process.
Both Rodriguez and Taylor give totally outstanding performances as these two incredibly endearing women. Rodriguez’s no bullshit attitude is both shocking and hilarious and she bursts onto the screen with no apologies and a shot of adrenaline. Taylor’s Alexandra is equally, exceptionally likable and gives a much more mellow vibe, working so well against the pistol that is Sin-Dee. The two of them make a brilliant tag team and even when they do break off within the narrative, you find yourself willing them to merge once more.
There are so many moments within the narrative that showcase the often dark and dangerous life of a transgender prostitute and it’s eye opening without being over dramatised. It’s an incredibly honest and gritty account, but the girls’ wonderfully natural talent makes the story wholly entertaining. From money-withholding customers, the constant police presence, untrustworthy pimps and the complicated relationship with non-transgender working girls; TANGERINE gives a very real glimpse into this world and it’s with real trust that the girls entirely throw themselves into their characters; an often humbling experience for the viewer.
TANGERINE isn’t a neatly wrapped up movie that stays in one lane. Instead it’s big, messy, bright and completely beautiful. It’s totally unique yet when settled in the girls’ company, and within Baker’s hands, you feel utterly at home. There are moments of real heart that lay the foundations of a brilliant film and the overriding themes of friendship and loyalty stand out among the sharp tongued profanities and hilarious quips. Sin-Dee is on a mission and it’s with real enthusiasm one suggests you joins her, in her own words; “it’s time to make the donuts, bitch”.
Verdict
