These films serve as a testament to the growing trend of “street casting”—using “normal” people, discovered in their natural habitats, rather than those found through casting agencies or the professional acting community. Some of the best independent films of the past few years—Sean Baker’s “The Florida Project,” Andrea Arnold’s “American Honey,” and Abdellatif Kechiche’s “Blue Is the Warmest Color”—were created this way, and they make the notion of professional acting seem altogether antiquated, particularly when the characters are part of a milieu that requires a heightened degree of specificity. Stories about subculture succeed when handled delicately, and with the willing guidance of those within it.