Sensational filmmaker and artist Harmony Korine is known for his strangely brutal and oft twisted works that expose the absurdities in everyday life and the unique worlds lying just beneath the surface. And when it comes to the places he loves to inhabit, it’s his affinity for the American south and the particular culture of everyday people that strike him.
It’s probably from being a skateboarder and being very young and free and, like, “My parents are letting me do what I want to do,” and spending the summer on rooftops and just floating and hanging with different characters and getting drunk in abandoned parking lots. It becomes that world, that vernacular—it just becomes part of what you know. It’s hard to say what attracts you to a blonde-haired chick with big tits—it’s just like, you go where you go.
Viewed today, it almost seems that Harmony Korine’s directorial works — most notably Trash Humpers (2009) and Gummo (1997) — are nearly an extension of his father’s, both aiming to show the South, in all of its idiosyncratic wonder, as an animate and culturally rich section of America.
It’s just life there. You see a lot of stuff. But there was an energy: something kind of strange and sinister, something fun, but something bubbling beneath the surface. Something really American.