Sun Don't Shine

Thrillers scarcely get more "indie" than this. 'Sun don't shine' is considerably understated, painting over even the most emotionally vibrant instances with a muted tone to one degree or another. This is reflected in grainy, lo-fi cinematography, modest sound design, and a brooding (and enticing) score that's employed only very sparingly. The picture consistently zeroes in on the troubled and even despondent states of Leo, Crystal, and their relationship, and Kate Lyn Sheil and Kentucker Audley's performances pointedly amplify that malaise at specific charged moments - and still the characters and scene writing are defined by that same low-key, distressed air.

Why, though the narrative content fits into the "thriller" mold, this movie rather declines the typical sense of robust urgency. There's dark tension and suspense simmering on the edges of the story as it's slowly teased out and tied together, stemming as much from the course of events as from the characters' ponderous difficulties. Yet just as much if not more time is spent exhibiting backstory through flashbacks or clever voiceovers, or focusing concretely on a character as a whirlwind of emotion swirls behind their quietly distraught expressions. Even as a definite sorry tale unfolds, to at least the same extent if not more so 'Sun don't shine' is about the raw feelings that follow from the situation Leo and Crystal find themselves in, and their stumbling efforts to gain control over circumstances they're wholly unprepared for.

I honestly kind of love this. Amy Seimetz illustrates wonderfully capable direction in helming the production and patching together the seemingly loose tapestry. To that point as well, all due commendations to her and David Lowery for smart editing and sequencing that helps the feature to tread familiar territory, but on a path that feels all its own. And Seimetz's screenplay is a small marvel: I wouldn't go so far as to call 'Sun don't shine' a psychological thriller, but the characters, dialogue, narrative, and scene writing are all carefully penned to accentuate that to whatever degree we're watching the story from the outside looking in, we're also getting substantial perspective from the inside looking out. There's a delicate balance in the writing, not least of all as Crystal and Leo also air their relationship problems and personal anxieties as though they weren't wrapped up in sordid business at this very moment. It's a tough road Seimetz chose, and I could understand that the result may not come across as a success to all, but at least for my part I think the amalgamation is fantastic.

And with that, Lyn Sheil and Audley's portrayals arguably ride a fine line between overwrought and underwhelming. Yet their roles reflect two people who are deer in the proverbial headlights, and flailing in their effort to seize control of their circumstances. I think the parts are deceptively complex - and that the leads demonstrate gratifying dexterity in navigating the material. There's welcome nuance, range, and physicality in their performances, bringing the wayward couple to life with a believable, realist spectrum of reactions. This was one aspect of the movie that stuck out to me at varying points as testing the limits of my patience, but it's folded so well into all else the picture represents that the more I think on it, the more I'm pleased as a movie-goer.

That this so heavily downplays almost every beat may make it hard to engage with for some viewers; I understand, and I'd probably have had the same response at one time. But between Seimetz's writing and direction, Lyn Sheil and Audley's acting, and the contributions of all others involved, I think the strengths of this little sleeper far outweigh any subjective deficiencies. Based on this alone I'm keen seeing more features from Seimetz and Lyn Sheil in particular, and I'm thrilled at how solid this one especially turned out to be. For my money, 'Sun don't shine' is an outstanding, intelligent, satisfying thriller that's well worth checking out and deserves much more recognition.

I say Wow because this was a truly interesting, truly different type of debut. For anyone else, it would've been surprising, but because I've seen Amy Seimetz as an actress and the type of films she gravitates towards, I knew this wouldn't be your typical run of the mill debut indie flick. It really is psychologically complex, maybe a little too much seeing as how at times it did threaten to overwhelm. There aren't many "thrilling" things happening, but in terms of the emotion boiling to the surface, it's hard to look away from the two leads, especially the female. This is in many ways "Antichrist-lite" and for those who've seen Von Trier's film will know that means the actors need to go to some dark places. Truly really good debut from Seimetz