‘Flophouse America’ Review: A Profoundly Realistic Portrait of a Preteen Living in Abject Poverty

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Monica Strømdahl’s documentary “Flophouse America” offers a raw portrayal of poverty in the United States. These films showcase flophouses, budget motels that many people are compelled to inhabit when they can’t afford better accommodations. Over an extended period, Director Strømdahl immersed herself in these American locales, capturing their residents on camera. However, during this time, she came across Mikal, whose narrative she chose to unfold in “Flophouse America.” Initially, she felt that photographs weren’t sufficient to convey his story, and since he was a minor during the filming process, they waited until he reached adulthood before obtaining his consent to share his tale.

The director’s preference for minimalistic digital photography lends authenticity to the visuals, making them strikingly realistic. In the film’s introduction, a straightforward, unaffected narration presents facts about American children struggling with poverty, neglect, and alcoholism, with stark white figures displayed on a dark background. Subsequently, a young man steps forward to speak into a microphone, stating, “I am among those statistics.

For nearly three years, beginning at age 11, I was the subject of a documentary that captured my life in our single room dwelling with my parents and a feline companion. We shared the bed while I made due on the couch, partitioned by a makeshift screen. Our bathroom served double duty as a kitchen, with a sink full of soiled dishes in the bathtub. The camera of Strømdahl skillfully portrayed the oppressive closeness that characterized our living situation, keeping the frame close to our faces and the encroaching walls of our cramped quarters. Even the cat’s shed fur seemed to dominate the limited space we had.

The movie turns ordinary occurrences into dramatic scenes, such as the anticipation surrounding Mikal getting new shoes. His mother, Tonya, frequently mentions a visit to the mall, hinting at the possibility when his father, Jason, returns from work. However, Mikal seems uninterested and non-committal in his responses, suggesting he doubts the plan will come to fruition. True to form, Jason arrives late, having spent the day socializing rather than working. The camera subtly captures Mikal’s dismay, implying this situation is a recurring pattern in their lives.

Whenever Tonya and Jason engage in a heated dispute, spewing harsh words at each other in Mikal’s presence, we sense the oppressive atmosphere and Mikal’s longing for an exit. These fights are a recurring theme throughout the movie. The trio – Mikal, Tonya, and Jason – are merciless, screaming and launching vile truths at one another. Mikal struggles academically. Tonya frequently overindulges in alcohol and spends most of her time unconscious. Jason works and returns home, only to join Tonya’s drinking sessions. The air is thick with smoke from cigarettes. Their movements are confined, each aware of the other’s actions, contributing to the growing tension.

In this film, I found myself deeply immersed in Mikal’s complex relationship with his mother, while Jason seems to play a secondary role, acting as a somewhat powerless mediator between two conflicted individuals. He manages to arrange temporary ceasefires but fails to bring about a lasting peace.

When Mikal pleads with his parents to abstain from alcohol, fearing the loss of his own mental stability, the camera poignantly captures his distress. Remarkably for one so young, Mikal articulates his frustrations with startling clarity, speaking in words that transcend his years.

Strømdahl skillfully employs a realistic lighting scheme, utilizing harsh fluorescent motel light sources, along with extended, uninterrupted shots to let events unfold organically. However, when the inevitable tragedy occurs, the director maintains a distant and considerate perspective. The camera, while capturing the pain, can feel probing and intrusive at times. Yet, when depicting sorrow and loss, it manages to open up what was once a confined and suffocating space.

Strømdahl is always there, yet unnoticed and everywhere. Some scenes are so genuine, it’s challenging to think a camera or any other person was present. The dialogues between characters, even when discussing their failed attempts at achieving the American dream, appear authentic rather than staged or artificial.

While “Flophouse America” might struggle to find an audience beyond the realm of film festivals, it truly merits greater recognition. It offers a raw, strikingly authentic depiction of a subject that’s familiar to many in the U.S., given its prevalence. This movie sheds light on the harsh realities of poverty and how it coexists with us, often unnoticed by the majority.

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2025-03-30 03:16