The director, who is fifty-five, kept her head up, her eyes framed by bright-blue mascara. “I taught myself at twenty-one, by jumping in the deep end,” Arnold said, plowing through the water with a solid breaststroke. In Arnold’s adaption of Emily Brontë’s “Wuthering Heights” (2011), a semi-feral Cathy licks the blood from Heathcliff’s wounds after he’s been beaten for misbehavior. In “Fish Tank” (2009), Arnold’s most autobiographical film, Mia, a fifteen-year-old living in East London, becomes infatuated with, and is gradually seduced by, her young single mother’s new boyfriend (an ideally creepy Michael Fassbender). They pulsed with sexual longing and barely suppressed violence. Two of Arnold’s previous films were elliptical dramas featuring teen-agers in impoverished English edgelands. As always, beauty and brutality sit tight. In “American Honey”-her first film to be made in the United States, and her third to win the Jury Prize at Cannes-a flying squirrel lives in a boy’s pocket, moths flap at sunlit windowpanes, and, in a wordless scene, a kid stabs at a supermarket chicken on a filthy kitchen floor. One let her float up close, almost touching, before scooting across the water.Īrnold’s films, beloved by critics but until recently largely bypassed by the mainstream, are full of animal encounters. As she swam, she kept veering off the conventional counterclockwise course around the edge of the pond to try to get nose to nose with one of the passing mallards. She had driven from the other side of the city for a cold plunge. On a surprisingly hot September afternoon, the British film director Andrea Arnold lowered herself into the water. Regulars bathe year-round, breaking the ice with their toes in midwinter. The Kenwood Ladies’ Pond, on Hampstead Heath, a patch of wilderness in North London, is surrounded by trees and populated by ducks.
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