How far will audience go with a morally repugnant lead character? This seems to be the dilemma at the core of Red Rocket, the latest work from Sean Baker (Tangerine, The Florida Project). The narrative follows Mikey (Simon Rex), a washed-up porn actor who returns to his hometown and reconnects with his ex-wife (early scene-stealer Bree Elrod). Circling a low-key redemptive arc, the film changes tact with the arrival of Strawberry (the electric Suzanne Son), who works at a local donut store and catches Mikey’s eye. Where the film goes in its second half increasingly challenges the viewer, whilst being so compelling its hard to look away.

Baker has proved a gifted chronicler of America’s working class, with an eye that is neither judgmental nor pandering. His previous work, The Florida Project, was his finest piece to date and is the closest Willem Dafoe has gotten to landing an elusive acting Oscar. And there are often glimmers of that brilliance in Red Rocket, not least with Simon Rex’s remarkable performance at the film’s centre. Rex is a ball of charisma, oscillating between a genuine likeability and a skin-crawling, nauseating quality. The actor gives so much to this role and it really is a towering achievement, one you wish had been more present during this year’s award season.

Red Rocket itches away with a tension that becomes almost unbearable when the laughter dies away. You want to run from what you are watching and yet its hard to look away. It’s not dissimilar to a work from the Safdie Brothers in this regard. But this is a film that belongs to Baker, who directs, co-writes, and edits Red Rocket, and, once again, works with a cast made predominantly of non-actors. The always-great Drew Daniels (It Comes at Night, Waves) gives the film a look that captures a beauty in the surroundings, whilst also not shying away from the reality of the dilapidated areas of America.

This is an admirably tricky work, one that will certainly not gel with anyone. There were moments when it felt the oxygen was being sucked out of the room as Baker’s film danced up to a line and, almost gleefully, crossed it. Yet cinema is a medium that feels particularly adept at exploring morally grey areas. You may not enjoy your time with Red Rocket but, thanks to a stellar performance from Rex (as well as some fabulous supporting turns) and Baker’s prowess as a director, you will likely leave challenged and elated by what cinema can do.