Sundown

Sundown is a film that I find difficult to explain why I enjoyed it. It's definitely not for everyone, but I was pleasantly surprised since I expected it to be more on the pretentious art film side of the spectrum.

I didn't know anything about the main character at the beginning of the film, and slowly discovering more about him over the course of the film was really interesting. The pacing is consistent, although for some it may be a bit too slow, with entire scenes that have no dialogue. I personally thought this made it feel more authentic, as there were no forced conversations for the sake of drama.

It's very much a drama, but there was an element of mystery there. In the beginning, I didn't understand the motivations of Roth's character, I didn't understand the full scope of what they were going through. Piecing it all together as the film progressed was very rewarding, and the ending gave more closure than I was expecting (movies like this tend to end abruptly).

It's a 7.5/10 for me. I wouldn't recommend it to those that like plot heavy movies or dislike character studies, but I enjoyed it far more than I was expecting.

At the beginning, say, 20 minutes into the film I, like probably everybody else, kept thinking what an asshole. Right in the middle I made a decision I never want to be really rich or go to Mexico, even on a short holiday. At the end I realized it was the best film about the fear of death I've ever seen.

I saw Sundown at the London Film Festival having been impressed by the director's "New Order" last year, though both films were made roughly at the same time. Tim Roth gives a magnificent understated performance of a man whose behaviour breaks with expected norms, asking us to imagine his motives. He subtlety of the director gradually and naturally reveals circumstances that may overturn our assumptions. The film has humour, violence, drama, and asks us to imagine what we do ourselves in he same circumstances. On top of these roiling undercurrents there are contrasted the beautiful but exclusive high-end beach resort with the crowded lively (and deadly) beach that the locals inhabit. Excellent supporting performances from Charlotte Gainsbourg and the others round out a thought provoking and well-executed film.

Greetings again from the darkness. How quickly we make assumptions and judge the actions of others. We all do it, and writer-director Michel Franco (NEW ORDER, 2020) seizes on this common human trait in this unconventional film centered on a man who simply doesn't act like we expect him to. Because of our tendencies to judge, Franco is able to confound, even frustrate us, by slowly revealing details that we wouldn't have guessed.

To pull this off, the filmmaker needs and receives a tremendous performance from Tim Roth. The actor takes a much different approach than his usual animated tic style, and here is exceedingly understated ... so much so that we are a bit uncomfortable watching him. He rarely speaks and seems distant from the others. The film opens with a family vacationing in Acapulco. They are clearly well-to-do folks, as evidenced by the stunning resort suite. Neil (Mr. Roth) and Allison Bennett (Charlotte Gainsbourg) are on holiday with two older kids Colin (Samuel Bottomley) and Alexa (Albertine Kotting McMillan). Our assumptions about what we are seeing are in full bloom, and that continues when Allison receives a call about a family tragedy.

As the family frantically packs and rushes to the airport for an early flight home, Neil claims to have left his passport at the hotel and will catch the next flight home. Instead, the film and Neil take a much different path ... one that leads to Neil becoming even more withdrawn. He moves into a cheap motel and spends his time lounging on the beach with a bucket of Coronas by his side. He befriends Berenice, a local played by Iazua Larios. Yet even then, Neil puts forth little effort to communicate. We keep asking, "What is wrong with him?" "What is he doing?" These are the same questions Allison asks when she returns to confront him.

As viewers, we are constantly revising the conclusions we previously jumped to as the details slowly eek out. This will likely cause frustration for some viewers, especially since Neil is not a likable guy - he just gives us nothing to relate to. Checking out from the pressures of one's life is never as romantic as it might sound, yet Neil seems extremely comfortable with his decisions. Class and cultural differences are at play here, and it's possible Roth and the film are at their best when answers aren't being provided. At least that's when the most tension is present. Franco's film is an unusual one, and certainly not one that everyone will appreciate, but he and Roth give us plenty to digest.

Opening in select theaters on January 28, 2022.

MOVIE REVIEW Sundown R - 4 out of 5 stars

Genre: Drama Year Released: 2021 Runtime: 1h 22m Director: Michel Franco Writer: Michel Franco Cast: Tim Roth, Iazua Larios, Charlotte Gainsbourg Where To Watch: Available to rent on all major VOD apps

I like sharing the official IMDb synopsis whenever reviewing films; I do this because it always intrigues me at the disconnect between the significance of the film itself and the given outline. I'm sure some of that is intentional to avoid spoilers which, as you know, I appreciate! In the case of this film, it may have one of the best examples of a spoiler-free synopsis I've seen. "Neil and Alice Bennett are the core of a wealthy family on vacation in Mexico until a distant emergency cuts their trip short. When one relative disrupts the family's tight-knit order, simmering tensions rise to the fore."

While only having a 6.6 rating on IMDb, I think this was a fantastic film with one of Tim Roth's ("Pulp Fiction," "Planet of the Apes") best performances in recent memory. However, Iazua Larios ("Apocalypto") stole the show. She has such a level of realism to her character on screen that I was wholly sold every time she was on screen. Her interactions with Roth were felt so legitimate that you could get lost in their performances, which made the entire film a delight.

As per my usual attempts, I hadn't seen a trailer for this; all I knew about it was the poster. I prefer it that way as much as possible. In this case, it let me experience the film from a 100% unbiased perspective. I didn't even know who was in the cast until I saw them on screen; if you've read any of my reviews in the past, you'll know that I try to avoid trailers because I've had too many films spoiled for me unintentionally. Sometimes trailers give things away that ruin some of the most impactful moments in the movie.

Clocking in at just an hour and twenty minutes, this film packs a lot into its runtime. The plot is simple, but the story is more profound in reality. It's not a love story; it's not an action film, it's not a slow burn, but yet somehow, it's all of those and more. A well-written script is a powerful tool, and this film is a shining example. While I haven't seen any of director Michel Franco's other films, I'm more than curious now; he directed this and wrote it. I know that not every movie can be nominated for an Oscar, but it bums me when great performances and fantastic direction are overlooked. This just proves why I do the Oscar Death Race each year, I love seeing all of the nominated films, but there's so much more to it. That's just where I start, then I widen my search from there and thankfully end up with so many lesser-known gems like this one.

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