Exploring Isolation, Poverty, and Drug Abuse through Film: The Muck and the Mire

Debra Granik’s drama Winter’s Bone(2010) is a tale of a young woman, Ree (Jennifer Lawrence), and her fight to support her family and hold on to their home. After Ree is told that her meth-cooking father has placed their house up for bail and skipped out, she starts her search to locate him. Her journey leads her into dangerous territory where she suffers a painful beating at the hands of the drug lords’ wives and daughters, some of them Ree’s own relatives. Finally, the women that beat Ree come to her house and take her to a hidden creek entrance. They make her reach into the water to pull out the arm of her dead father. In a disturbing and painful scene, the women help Ree to saw off her father’s hands. When Ree provides proof, she gets to keep the family home.

Julien Nitzberg’s 2009 documentary The Wild and Wonderful Whites of West Virginia follows the White family of Boone County, West Virginia for one year. Throughout the film we see four generations of the family, the oldest being Bertie Mae White and the youngest, Kirk’s son Tyler. The film is filled with scenes of drug use, violence, and parental neglect. Most of the film watches like a torturous desensitization for the viewer, but there is hope buried deep in the film through Kirk’s journey to rehab.

Though both of these films are hard to sit through, they confront poverty in rural regions of the Ozark and Appalachian mountain ranges with more truth than others have. By paying close attention to The Whites and Winter’s Bone the tropes and stereotypes associated with the hillbilly slowly diminish and the humanity and tragedy in these areas starts to make itself present.  Through the films themselves, the literature about the hillbilly, discussion boards, and critical film reviews, it is clear that the hillbilly stereotype is present and confirmed. Both films, however, work to add depth to the trope and therefor, disestablish it as negative and give the hillbilly a humanity it has rarely been given.

Part I: A Sense of Place

While The Whites and Winter’s Bone are set nearly 750 miles apart, these places are very similar; one reviewer writes of The Whites:

 I waited a while before seeing this film because I thought it might be exactly what it was. A documentation of the sort of people I grew up around in central Missouri. While many people who have not grown up in such areas may believe that the Whites are not a significant part of the population, unfortunately many rural communities, especially Southern rural areas of America produce tons of folks like the Whites (Loren).

Both regions have a mining culture that has lasted centuries, both are mountainous (The Whites in the Appalachians and Winter’s Bone in the Ozarks), both are known for their poverty, and both have rampant drug trades. The Whites emphasizes the drug and mining cultures; Winter’s Bone’s plot is driven by the drug culture and poverty, while it does not discuss any mining culture.

The sordid history of mining accidents causing death and serious injury in West Virginia has cultural repercussions seen in The Whites. One of Boone County’s defense attorneys, Francis M. Curnutte III says the coal mining culture “creates a fatalism and lack of fear of death” in families like the Whites. “People have been working in one of the most dangerous occupations there is... it leads to a sense of hopelessness” (The Whites).  Working so close to danger and death for centuries shapes a culture. It starts to make their view of life and death different. If death is so close, why worry about life or about dying? Jesco White, known as “The Dancing Outlaw,” says in The Whites, “The sin or the thing that bothers them [the Whites], that lives in ’em…We’re [the Whites] already dead but we’re still alive to tell about it.” The drug abuse and violence that the White family lives by demonstrates this recklessness and lack of fear of death. Jesco does a good job of narrating what his family, specifically his generation and earlier generations from this area have experienced.

The mountains become intertwined with the characters in these films, especially Winter’s Bone.  Debra Granik argues, “All mountain cultures in the States have been both vilified and reduced” (Bell 28). The cultures have been simplified, broken down to a stereotype, the hillbilly. Granik’s attention to Ree’s obvious feeling and depth as a character works against this reduction. Winter’s Bone as a whole does not help to make the mountains more approachable. Through its portrayal of the violence and suspicion associated with the drug culture, its representation further vilifies the mountains. In vilifying the mountains, however, Granik does deal with this terrorization through characters like Teardrop and Merab, both of whom are quite villainous at first glance but become more complex throughout. 

The imagery in the films lends itself to an air of isolation. Curnette says, “The Whites are a product of the mountain culture. They were isolated by geography, they were isolated by culture” (The Whites).  In The Whites, Jesco stands on his back stoop and watches a coal train go by. He is the only person in the shot and behind the train is only forest. In Winter’s Bone, Ree walks through the woods alone to get from one place to the next. Granik and Nitzberg do not try to hide this barrenness; they put it in the foreground and bring the characters into the emptiness. While the mountains create isolation, it is broken up by the strong sense of family in these films.

It is apparent that the people of the mountains are the ‘other.’ Roggenkamp says, quoting Jim Wayne Miller, an Appalachian poet and professor in Appalachian Studies at the Berea College Appalachian Center, “Almost invariably, Appalachia and its residents were ‘presented to readers in terms of their ‘otherness,’’ and they were marginalized from the rest of the nation in terms of morality, dignity, and intelligence” (Roggenkamp 195). This otherness can be seen across the board in many other films. Jerry Wayne Williamson says of the film The Evil Dead, “The very air itself, especially the mountain fog, contains a suspirating malevolence that never quite materializes as a specific It. Horrible, unreasonable, nature itself is awe-ful, evil, the ambiguous Other” (150).

The fatalism created by the mining and drug cultures in these films lead to families like the Whites and cultures like that portrayed in Winter’s Bone. Williamson writes, “When actual people went into actual mountians─where anything could happen at any moment, where literal survival was an active question and might be a matter of physical competence─the possibilities of mountains simultaneously thrilled and terrified”( 19). The mining culture in The Whites and the drug culture in Winter’s Bone create a world “where anything could happen at any moment.”  A man, a father, a brother, could leave in the morning and not come home at night, a victim of a mining accident or a drug bust, and it would be normal.

In Winter’s Bone, the fatalism is obviously created by the drug culture. Teardrop’s obvious addiction and violence exemplify this sort of wild-card behavior. When pulled over after bashing someone’s windshield in, he holds the tip of his rifle out the window so the cop can see it. He says simply of the stand-off, “Is this going to be our time?” The police officer backs away and gets in his car. After Ree is brutally beaten by her female relatives, one of the younger girls, Megan, asks her, “What are we ever gonna do with you, baby girl?” Ree says in response, “Kill me, I guess.” The possibility of death is so close to these people that it becomes a part of their everyday life, dissolving the line between the two.

Part II: The Hillbilly

The hillbilly is a subject that is liminal, or in between categories, especially gender roles, is of the lower class, is violent; and operates out of a self-destructive fatalism. The Whites  and Winter’s Bone confirm the hillbilly stereotype in some ways and in others demonstrate how these perceptions are changing.

Mamie White declares near the beginning of the film, “I’m, the biggest, and the meanest, and the baddest of all the White family.” Mamie is the self-proclaimed antithesis of traditional femininity. Carol Mason discusses William Byrd’s 1728 work Histories of the Dividing Line betwixt Virginia and North Carolina and summarizes, “Appalachians have been portrayed as people who do not conform to gender roles considered to constitute natural order” (41). The women of The Whites don’t seem concerned with any type of order.

Ree is a hillbilly because she  “serves as a foil for middle-class mores, defining modern norms against the perceived abnormality of a liminal subject whose…gender [and] class… are distinctly ‘other’” (Mason 42). Ree demonstrates her liminality or “the stage of being between categories and the power inherent in that process,” in regard to both gender and class. Ree’s liminality is most present in the ways she takes care of her family. She performs several traditional female roles, cooking for the children and taking on a motherly role. Her father is not around so she is left to nurture her incapacitated mother and younger siblings. There are many ways, however, in which she doesn’t align with these roles. She does not dress according to traditional gender roles; all of her clothing is huge on her and most of it looks as if cut for a man. Chopping wood, teaching the children how to hunt, and contemplating a future in the military confirm Ree’s liminality not only from her physical appearance but also through her actions.

The women of Winter’s Bone constantly work to take care of their families many times ignoring what the traditional female role would entail. Merab (Dale Dickey), the drug lord’s wife, exemplifies this lack of attention to typical femininity. Her character is not from the Appalachians but she certainly handles her share of the manual labor created by the drug trade.  She speaks for her husband, beats Ree, and goes out on her own to get Ree what she needs. Mason says, “Appalachian women [are] too physical, often taking on the manual labor that their male counterparts appear too lazy to do.” We see this in Ree’s fight to keep her family safe and warm, chopping firewood and taking a beating; as well as Merab’s attempt to simultaneously keep her husband pleased, keep Ree uninformed, and finally clean up the mess that was made, dragging Ree out in the middle of the night to row across a lake and pull a dead man’s arm from the water. David Denby of The New Yorker says of the women of Winter’s Bone, “They work at protecting their mangy, surly men, but they know how to get around them, too, and, when they have to, they do the dirty business of cleaning up crimes.”

Violence is so present in both of these films that it almost becomes its own character. Mason says, “As representatives of mountain, country life, hillbillies can… reflect either heroism─bravery and loyalty to traditional ways─or a deviance, sadism and primitivism that is said to fly in the face of modern progress” (43). Both of the films have characters that exhibit sadism and heroism, albeit the heroism is harder to pick out. In both Winter’s Bone and The Whites there is an undertone of chaos and savagery. The constant threat in Winter’s Bone not only from the drug lord and Ree’s own family, but the law as well, creates suspense that hangs with the viewer throughout the entire film. The sadism in Winter’s Bone is shown through the lack of care that Ree’s family members demonstrate. When Ree goes to Teardrop for help or information about where her dad might be, Teardrop grabs her jaw tightly and makes it very clear that she should stop asking questions. The end of the film where Merab forces Ree to chop off her own father’s hands is another example of this sadism. There is very little regard for Ree throughout the film, rather, the care that could exist is trumped by the suspicion the meth culture creates.  

 In The Whites, violence doesn’t create anything remotely slight, it bashes through the gate in the film’s introduction, hooking the viewer immediately. The women of The Whites open the film with seemingly never-ending tales of violence and relationships gone awry. They perfectly demonstrate the sadism that Mason discusses. None of the women see anything strange about stabbing an ex for cheating or chopping someone up and throwing them in a mine shaft. On the contrary, they take pride in this sort of violence. Mamie says, “I chopped the son of a bitch up and threw him in the mine shaft in a garbage bag. I’ve got three mine shafts up this holler.”  Mamie has three mineshafts to fill with her violence.  Kirk of The Whites exemplifies this violence. When discussing stabbing her ex, she says giddily, “The night I stabbed him, it was cool…I meant to kill that motherfucker.” She shows no remorse for her actions.

The critics do not ignore the violence in these films. In a New York Times review of The Whites A. O. Scott says, “There is an undercurrent of fatalism [lack of fear of death] in the Whites’ way of life, and also the omnipresent threat of deadly violence”.  Ed Whitfield of The Ooh Tray said of Winter’s Bone, “[It] is an absorbing and socially conscious piece of work, underwritten by the constant threat of violence.” These women are not afraid of the law, they are not afraid of anyone or anything.

While these films are full of violence and sadism, Ree in Winter’s Bone, Bertie Mae of The Whites, and Kirk of The Whites all show moments of heroism. Ree is brave in the face of drug-dealing, rifle-wielding neighbors and selflessly loyal to her family. Ree never uses violence in her fight to help her family. She instead stands strong when everyone around her is falling into violence and anger. Bertie Mae fights for her family in a similar way. She is known as ‘the Miracle Woman’ in Boone County, a heroic title if I have ever heard one. She raised and provided food and shelter for dozens of orphans and abandoned children in addition to her own.  Regardless of Kirk’s violence, she wants to change her life for her son Tyler; she enters a rehabilitation facility hoping to break away from the drugs clouding her life. What is interesting about all of these heroines is that they all fight for their families, not themselves. They are working to protect those that are weaker and need help.  

Part III: Poverty in the Films

Poverty plays a key role in both Winter’s Bone and The Whites. The study conducted by a group of researchers from Forest Institute, “‘What makes you think I’m Poor?’ A Qualitative Analysis of Etic and Emic Perceptions of Poverty in the Ozarks,” explores the perceptions of rural poverty in the Ozarks, specifically Missouri where Winter’s Bone is set, from both internal and external standpoints. This study provides interesting values created by poverty or definitions of what poverty is, or appears to be, from both viewpoints.

Some of the values and definitions include:

“…being labeled, looked down upon, treated differently, and ignored, while also being made the subjects of societal surveillance…” (Languille-Hoppe 132)

“…equated poverty with success, survival, a way to overcome adversity…” (133)

“…the importance of family…” (133)

“…teaching the next generation… (133)

“…the idea that poverty is an attitude or mindset of hopelessness… the ability to continue to fight, to have another day, and to maintain hope were factors that separated them from those who they considered truly impoverished.” (134)

Using these definitions I will explore how Winter’s Bone and The Whites are accurate examples of rural poverty.

In The Whites, several of the younger family members discuss the way their family’s reputation makes it difficult for them to get jobs and that they are in a way shunned because of the labels placed on them by their family name. The members of the law that were interviewed in the film discuss how the county feels about or acts towards the Whites and it is not positive. While the community shuns the Whites during the day, at night they take delight in their antics. At one point in the film, the singer of a band introduces the women of the Whites as they walk into a bar.  The film itself is a testament to the overwhelming surveillance that this family is put under. They are not only excluded from certain parts of society but are made to be a form of entertainment,  not only for the locals, but for the world, as this film has expanded their audience to a global scale. While initially this film seems like pure exploitation at its finest, it is clear that the Whites don’t mind being watched, it appears they like it.

In Winter’s Bone, Ree’s family name, Dolly, comes up often in relation to her status in society.  When the sheriff visits Ree’s home, she promises she will find her father, and declares, “I’m a Dolly, bred and buttered.” When she introduces herself, she says, “My Daddy’s Jessup Dolly.” This recognition of name as class indicator, infamous or not, echoes back to the idea of surveillance, every family is being watched and their actions are attached to their name. Both the Whites and the Dollys are labeled, put under surveillance, and treated differently.

Ree most certainly equates poverty with survival and overcoming struggles. She says to her younger siblings, “I’d be lost without the weight of you two on my back.” She tries to find other means of income through the military but is unable to do so for several reasons. Ree’s value lies in her unbending loyalty to her family and her ability to stay strong even under the worst of conditions.

While the Whites have experienced some seriously devastating events in their lives, more than anything, they numb themselves instead of dealing with and working through their problems. The Whites experience some tragedy and they get drunk and high and “party their balls off” as Mamie puts it.

The importance of family is palpable in these films. Both the Whites and the Dollys are tight-knit clans. Forest Institute’s study found that, “When asked about success, participants pointed out that family, not material possessions, equaled success” (133). The only reason that Ree wants to join the military is so that she can save her family’s home, not because she wants it, but because her siblings and mother need a place to live. When the bail bondsman visits Ree at the end of the film and hands her the money that was anonymously given towards Jessup’s bail, she is unenthusiastic and asks if they can give the money back to the man who left it. All of Ree’s concepts of success lie in her family.

In The Whites, family is one of the films redeeming factors. Mamie says, “I’m hurtin,’ really in my heart, I’m hurtin,’ cause I’m losin’ my Mom and that’s all the fuck I got.” When someone is in need in this film, someone is there to help. When Kirk’s baby girl is taken from her at the hospital, her mother is there to talk her through it. Throughout the entire film, the family is always spending time together; you rarely see one of the Whites alone.

Ree makes a priority of teaching the children or the next generation survival skills like hunting and cooking. When she is cooking dinner, she calls them to the kitchen to watch. In the scene where Ree is explaining how to shoot a rifle, she is certain to explain the safety measures. When her friend arrives and her attention will be shifted away, she has the children sit on their hands so they cannot handle the gun. On the way to school, Ree asks the children questions to be sure they are learning. Her attention to their education, both academically and for their survival demonstrates the importance of teaching the younger generation and passing down wisdom.

The Whites don’t spend much time concerning themselves with teaching their children. Kirk, however, does express how she hopes her children can get out of Boone County. She says, “You stay in Boone County, I don’t care how many dreams you got, it’s not going to happen.”

One of the ways that poverty is represented in these films in its most true form is that of poverty as an attitude or mindset. In The Whites there is a lot of the poor-me attitude. The family is constantly talking about the hardships they have experienced. The Whites have the view that the whole world is against them, while one Defense Attorney says of the Whites, “They don’t expect a lot out of life and they live for the immediate.”  The internal hopelessness of the Whites and the external expectation of lack of drive to change leave the Whites with sad lives of drug abuse and mayhem, unable to change the pattern.

On the other end of that spectrum, in Winter’s Bone Ree is not hopeless at all. She sees no other option but to keep striving. Regardless of having dropped out of high school, living in what could be called a shack, and lacking money for even a clunker of a vehicle, Ree obviously does not feel impoverished. She does not feel held back; rather, these obstacles are cause for working harder and pushing further.

Part IV: Genre

The genre of The Wild and Wonderful Whites of West Virginia is a documentary. This genre put as simply as possible is a film or TV program that presents the facts about a person, group of people, event, or group of events. It can be done in many different ways but those are the basic rules.  The Whites sticks to this template and has some embellishment but going into great detail would be unnecessary. Julien Nitzberg, the film’s director, made a good decision with the way he put this film together. As a director, he almost completely disappears and allows for the Whites to tell their own story.

Winter’s Bone is a “hillbilly-gangster-realist-noir,” (Bradshaw) a “country-noir thriller,” (Denby) and a “stylized backwoods noir…a realist portrayal of a little-known pocket of the American underclass.” (Bell 28)  All of these titles signal back to different meanings. The word noir employs some kind of crime drama, realist echoes to a form of reality, and country, backwoods, and hillbilly all signal to place or location for this film. Regardless of all of the titles, this film is realistic but it is not reality, rather, the dramatized story of a girl fighting for her family in the face of a dark crime.

Both of the films deal with very similar subject matter, the drug culture, poverty, the hillbilly, but the critical response to the films is very different. The documentary genre of The Whites and the known reality of the film cause viewers to react with hostility and disgust. Winter’s Bone does the opposite, creating an endearing strand in the reviews for Ree and her situation, and her family. The Whites’ antics put the viewer on edge and leads to a defensive attitude toward the family. Winter’s Bone creates sympathy in its viewers and draws them in.

The animosity created by The Whites for this reviewer from IMDB.com seems to come from a personal place. They are upset with the Whites because they personally pay taxes and are now watching government fraud.

People [The Whites] who scam the government, so they can avoid work, snort drugs, drink Budweiser, smoke Marlboro's, crack, and pot. They have nicer cars than most working class people, and the Child protection services let them continue to breed like the rats they are, and create more damaged people that we all support. (ctl172001)

What is truly disturbing about this review is that they find absolutely no humanity in The Whites. This review is similar to many others discussing the Whites’ personal choices and decisions. This reviewer says, “...the child protection services let them continue to breed like the rats they are…” as if it is in the power of the Child Protection Services to force the Whites to quit procreating.

The Whites are so extreme that it is impossible to dismiss them. The extreme sexual behavior, drug culture, and violence make this film absolutely polarizing. The Whites are real people. Rupert Russell says of the Whites:

The Whites are simply honest and upfront about whom they are, whereas the Suburban America is camera shy… my hope is that people watch this film and pose questions that go beyond red states and blue states, outlaws and conformists, and instead address common, if unattractive, behaviors that make all of America a real, and not imaginary, America.

Viewers have a very hard time accepting this particular portrait of a true American family.

America doesn’t want to see the Whites are their relatives and neighbors because they are scary, dangerous, and dismiss almost all societal standards. Williamson said, “We are afraid of what mountains hide because we are afraid of our own hidden potentialities. Our basic natures are not what we want to believe” (157). What the documentary genre forces its viewers to see is that the antics of the White family, the primitive violence, sexuality, and ways of survival, are all of human kind’s ‘hidden potentialities.’ All families in America have these primal instincts built into them; society has shaped their outward appearance.

Winter’s Bone has characters that demonstrate these same ‘hidden potentialities.’ What about it makes the reception so different? Jessica Grabert of cinemablend.com says:

This is a movie about a world that is right fucking nearby, where there are problems larger than petty trivialities, where people know their place, where there is honor in the muck and the mire. It’s a place where the Hatfields and the McCoys could reign supreme, and where Winter’s Bone chooses to place its audience. It may not be as pretty or as comfortable as suburbia, but maybe that’s why when the ultimate payoff does come, it feels entirely deserved.

Concerning the review literature, the difference in the reception could be in the fact that Ree is dealing with a problem of grave proportions, whereas the Whites are dealing with their own weakness and addiction. If Ree fails, her family will fall apart. The Whites have failed and are now wallowing in misery on an extended trip of drug abuse, sex, and violence.

A lot of the reception for these films discusses the mountains in relation to suburbia. It seems that these films challenge the suburban way of living. Perhaps the root of the problem here is that The Whites is a film about real people, in real America living with different rules than the rest. It presents an alternative to the life of row upon row of identical homes with identical yards. It introduces chaos into extreme order.

The lack of sympathy for the Whites and the overwhelming respect for Ree is at the heart of the films: their genre. While Winter’s Bone is a realist depiction of rural poverty, it is not reality. Although both films show realistic depictions of poverty-stricken mountainous areas in the U.S., Winter’s Bone is dramatized and includes a plot, the Whites is a real picture of this world and it does not push an overwhelming plot. By the end of The Whites, every viewer knows that the White family is very real; they are everywhere, with different last names, with different faces, but they are all doing the same things and behaving the same way.

Through a sense of place, a discussion of the hillbilly, and a look at poverty in the films Winter’s Bone and The Wild and Wonderful Whites it is overwhelmingly clear that the Whites and the Dollys are very similar families. Both deal with the cold isolation of the mountains, both have drug-riddled family trees full of violence and nontraditional gender roles, and both are impoversished. Concerning genre, however, it is realized that the way these two families are presented to the public is important. As viewers, “we are invited to look into this hillbilly face of horror as into a mirror, (Williamson 156)” knowing that we all have the capacity for such primitive behavior inside of us, knowing that we all have a strength like that of Ree’s.

Bibliography

Bell, James. “Meth and the Maiden.” Sight and Sound 20.10 (2010): 28-29. Biography Reference Bank (H.W. Wilson). Web. 18 September 2012.

Ctl172001. “Nothing Redeeming here at all.” Rev. of The Wild and Wonderful Whites of West Virginia,  dir. Julien Nitzberg. IMDB.com. IMDB.com, Inc. 18 Feb. 2011. Web. 22 Oct. 2012.

Denby, David. “Thrills and Chills.” Rev. of Winter’s Bone, dir. Debra Granik. The New Yorker. Newyorker.com. 5 July 2010. Web. 25 Nov. 2012.

Doviak, Scott Von. Hick Flicks: The Rise and Fall of Redneck Cinema. Jefferson,  N.C. : McFarland, 2005. Print

Grabert, Jessica. “Movie Review: Winter’s Bone.” Rev. of Winter’s Bone, dir. Debra Granik.  CinemaBlend.com. Cinema Blend LLC. Web. 22 Oct. 2012.

Languille-Hoppe, Mary Marguerite, Monique Maxey, Judith R. Gonzalez, and Stephanie Terrell. “’What Makes You Think I’m Poor?’ A Qualitative Analiysis of Etic and Emic Perceptions of Poverty in the Ozarks.” Journal of Ethnographic and Qualitative Research 4.3 (2010): 125-38. Academic Search Complete. Web. 18 September 2012.

Loren. “There are a LOT of White families in Rural America.” Rev. of The Wild and Wonderful Whites of West Virginia, dir. Julien Nitzberg. NYTimes.com. 24 Oct. 2011. Web. 25 Nov. 2012. 

Roggenkamp, Karen. “Seeing Inside the Mountains: Cynthia Rylant’s Appalachian Literature and the ‘Hillbilly’ Stereotype.” Lion and the Unicorn 2 (2008): 192-215. Project Muse. Web. 18 September 2012.

Russell, Rupert. Rev. of The Wild and Wonderful Whites of West Virginia, dir. Julien Nitzberg. The Huffington Post. Huffingtonpost.com. 27 May 2010. Web. 26 Nov. 2012.

Scott, A. O. “From a Clan That Lives by Its Own Rules, a Tale Made for the Movies.” NYTimes.com. The New York Times Company. 4 May 2010. Web. 18 September 2012. http://movies.nytimes.com/2010/05/05/movies/05wild.html?_r=1

The Wild and Wonderful Whites of West Virginia. Dir. Julien Nitzberg. Perf. Francis M. Curnette III, Jesco White, Mamie White, and Kirk White. Tribeca Film, 2009. Film.

Whitfield, Ed. Daddy’s Gone. The Ooh Tray. Northern Comfort. 17 Sept. 2010. Web. 22 Oct. 2012.

Williamson, Jerry Wayne. Hillbillyland: What the Movies Did to the Mountains and What the Mountains Did to the Movies. Chapel Hill: U of North Carolina P, 1995. Print.

Winter’s Bone. Dir. Debra Granik. Perf. Jennifer Lawrence, John Hawkes, and Dale Dickey. Artificial Eye, 2010. Film.