Harmony Korine’s film plays games with both the audience’s and the character’s perception of reality, fantasy, and familiarity. The various ways the music is employed throughout the film helps confuse, disorient, or ground us, and the play between diegetic and non-diegetic music brings us in and out of the characters’ perspective.
Harmony Korine’s Spring Breakers is a film that’s easy to get lost in. It’s presented with nonlinear storytelling, montages of seemingly unrelated spring breaking, and repeated lines of dialogue, all in a wash of neon colors and excess. The music helps the audience remain grounded in reality and stabilizes the chaotic world we’re immersed in.
But it’s not just the audience that needs grounding. The film follows four young college students (portrayed by Selena Gomez, Vanessa Hudgens, Ashley Benson, and Rachel Korine) on their adventures to St. Petersburg, Florida for spring break. The girls desperately want a break from their monotonous reality and see the vacation as a chance for them to find themselves, let loose, and have fun. Once they arrive, the young girls get involved in some heavy partying, and then, facilitated by their new leader, Alien (James Franco), a fair amount of crime. It is a world of fantasy for them, as it is for us. To them, it is world where their responsibilities disappear and they are free to party. They tell each other to “act like it’s a videogame” before they rob a local eatery to get the money needed for the trip. But given the non-linear editing effects, use of slow motion, and the aggressive soundtrack, complete with loud gunshot noises for scene changes, one begins to question whether the events of the story are meant to be taken as fantasy entirely.