THE SWEET EAST -- An Idiosyncratic, Auspicious Debut of a Road Movie

Review by Sean Boelman

With an all-star cast of cinephile favorites who have blown up over the past year, including Jacob Elordi and Ayo Edibiri, The Sweet East might be one of the most singular, esoteric debuts in recent memory. Although the film doesn’t always work, its certainly admirable, thanks to the clear ambition on display.

The movie follows a teenage girl who, after getting separated from her peers on a class trip in Washington, DC, gets her first unexpected glimpse into the real world. What starts out seeming like a pretty standard road movie evolves into something more quirky and sinister as it goes on before culminating in a finale that’s undeniably wild yet works surprisingly well in context.

In terms of what The Sweet East has to say, there’s some very sharp commentary — particularly in the first act — on the absurdity of the white supremacy movements that emerged in the fringes of American society but have become scarily mainstream. Few films on the topic have managed to so effectively convey how these disgusting individuals manage to look “normal” and could be among us.

The supporting cast has a few recognizable faces, all of whom are entirely game for the movie’s weird vibes. Simon Rex is fantastic as a white supremacist, having a duplicitous charm about him that makes the character all the more menacing. On the opposite end of the spectrum, Ayo Edibiri and Jeremy O. Harris are wonderfully flamboyant as idiosyncratic filmmakers, and Jacob Elordi has yet another scene-stealing turn (his third this year) as a heartthrob actor.

However, none of these performances would make much of an impact were it not for Talia Ryder’s commanding leading performance. From a scene early in the film where she sings an enchanting song into a mirror, Ryder is completely spellbinding. She is very quiet in the role but has a commanding presence nonetheless.

The transfixing nature of Ryder’s performance is further complemented by the movie’s aesthetic. Shot in 16mm, The Sweet East has a grainy, dreamy aesthetic that will remind viewers of old-school Americana, creating an interesting juxtaposition against the film’s snapshot of the modern-day alt-right. 

For much of the first half, it feels like the movie is trying to be a cringe comedy — particularly as we deal with the discomfort in the relationship the protagonist forms with Rex’s white supremacist. If this wasn’t enough to alienate some viewers, others will be thrown off by an absurd turn in the second act. Those who make it through both of these tones will be on board with the film’s weird wavelength.

The Sweet East uses its warm aesthetic and charming performances to deliver a stunningly terrifying truth about our world. Although its unorthodox approach is unlikely to resonate with everyone, this is a confident debut for director Sean Price Williams and writer Nick Pinkerton.

The Sweet East hits theaters on December 1.

​Rating: 4/5