The Sweet East is certainly polarising. Watching the directorial debut of cinematographer and Safdie brothers collaborator Sean Price Williams is a little like getting stuck in a train carriage with a teenager blasting music through the tinny speaker of their mobile phone. On the one hand it’s enraging and you would do pretty much anything to make it stop. And yet there’s a grudging admiration for the insouciant swagger, for the no fucks given attitude and the glassy layer of self-absorption. It takes a certain elan to be this unapologetically obnoxious, so kudos for that, I guess. A digressive, episodic...