
2012 · Benh Zeitlin
How Beasts of the Southern Wild has been received, argued over, and remembered.
The 2012 indie fairy tale — Sundance Grand Jury Prize, Camera d'Or at Cannes, four Oscar nominations including Best Picture — that has since cooled into a time capsule; what was hailed as a miracle then now gets a more ambivalent 'peak Obama-era Sundance' shrug.
The fight it still starts: transcendent magical realism or 'poverty porn'? — bell hooks' scathing essay 'No Love in the Wild' gave the backlash its founding text, and the debate has never settled.
Dan Romer and Zeitlin's swelling score ('Once There Was a Hushpuppy') became inescapable trailer and commercial music for years, and nine-year-old Quvenzhané Wallis flexing her biceps on the Oscar red carpet was one of the ceremony's defining images.
A canon faller rather than climber — once a 'you must see this' Best Picture nominee, now the film cinephiles bring up when arguing about which 2010s indie darlings actually held up.
Influences Benh Zeitlin has publicly named — the director's own word, distinct from the inferred lines of influence.