From ‘Kids’ (1995), a meditation on New York City youth, to ‘Spring Breakers’ (2012), a contemporary film noir in which four college freshwomen are drawn into a murderous labyrinth of events, Korine’s films of the past twenty years merge reality with fiction and shaky “footage” with precise editing, holding viewers’ attention to the split second and thereby suspending disbelief. His heady mix of the unplanned, the seductive, and the outlandish crystallizes in his lesser-known paintings. Bypassing brush and art paint in favour of squeegees, leftover household paint, and masking tape, he creates loosely sequential images that echo the sonic and visual leitmotifs of his films.