Zola is the stripper tweet-storm movie you've been waiting for: Sundance review
does come steeped in a sort of surreal internet shorthand — a wild candy-colored road saga with piles of style and postmodern flair, told in the key of smartphone.
For all its luscious zooms on stripper poles and sudden bursts of violence, though, the film is also a great, sly affirmation of the black female gaze: Over and over, Taylour Paige’s title character proves to be the only sane woman in the room. Her Zola is a part-time waitress and exotic dancer whose weekend from hell begins when a restaurant customer named Stefani makes the executive decision that they will become best friends. Within hours, Stefani invites her to join her in Florida for what she promises will be easy money: dance at a couple of clubs, earn, go home.
She only vaguely mentions the boyfriend coming along for the ride, and the volatile “roommate” who will be in the driver’s seat. When the situation starts to take a turn, it’s more like a record scratch, then a hard skid; before the next 48 hours are over, there will be blood. ., and it’s easy to place her work in the same kinetic, soundtrack-heavy vein of filmmakers like the Safdie Brothers and Harmony Korine.
If Paige and Keogh weren’t both such indelible, fiercely charismatic characters, the whole thing could easily fall apart. But their presence, and Bravo’s singular vision, givea sort of electric buzz: the thrill of watching something stranger than fiction, and somehow better than true.
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