Joe Swanberg has solidified himself as a formative figure in independent cinema. Known for his low-budget improvised films, Swanberg has a knack for showcasing people in all their messy glory and the ways that make or break their interpersonal relationships. After some time away from the director’s chair, Swanberg is back with The Sun Never Sets, a film that upholds all of his traditions but through a more mature, experienced lens.
Dakota Fanning stars as Wendy, a woman in her early thirties dating Jack (Jake Johnson), an older, divorced gentleman with two kids. The two are content in their relationship, and Wendy fits well into Jack’s established life. The kids adore her, Jack’s ex-wife (Anna Konkle) likes her, and they’ve settled into a familiar pattern.
Of course, Wendy’s direct peers are all getting married and announcing pregnancies, something Jack has said he doesn’t want to do again. While Wendy says she’s accepted that, Jack insists they give themselves some space so she can see what’s out there and make sure this is what she really wants. It’s an attempt by Jack to be mature and avoid resentment later when they presumably reunite. Jack doesn’t plan on Wendy bumping into her ex, Chuck (Cory Michael Smith), during the break.
Heterosexual nonsense ensues in typical Swanberg glory as Wendy wavers between her past and present to find a path for her future. Absolutely no one handles the arrangement well, to a frustrating degree. I squirmed in my seat, willing someone, anyone, to make a semi-good decision. But everyone owns each decision, no matter how toxic or stupid they are. It’s almost refreshing to watch these people completely screw up over and over only to own it with confidence. The performers really revel in this complicated concoction of toxicity and maturity.
Fanning has never really been bad a day in her lengthy career, but it’s a real treat watching her step into more grown-up roles and continue to broaden her artistry. Wendy is as self-aware as she is self-destructive; Fanning impressively crafts her indecisiveness without making her helpless. It’s impressive how she portrays Wendy’s indecision without making her feeble.
She and Johnson work quite well together, crafting a lived-in relationship that looks sunny at a quick glance, but has its share of wear and tear. It’s stable, but we are allowed to believe why Wendy would be interested in exploring something else. Jack is manipulative, and Johnson brings this air of “being the adult” in their early conversations.
When things don’t actually go Jack’s way, Johnson gradually abandons his adult composure and unleashes his signature bumbling comedy. He relishes its toxicity and gives an egoless performance, allowing Jack’s flaws to shine.
The most underused piece of this triangle is Smith’s portrayal of Chuck, but that doesn’t mean he isn’t any less compelling. We don’t have specifics about what Chuck was like in their first relationship, but Smith brings a captivating internal struggle to the surface. We feel Chuck is actively working to be better and fight old habits, and it makes his subsequent frustration when he fails all the more palpable.
Swanberg doesn’t prop one character up above the other two. All three have their morally righteous moments and their uglier moments. These are not perfect people, and they know that. What balances their toxicity are these beautiful moments in the quiet where they take a beat to acknowledge their own shortcomings. Today, we see everything analyzed in extremes with little room for nuance or grey area. Here, everyone exists in nuance rather than trying to morally posture one over the other.
The hijinks do become a bit repetitive as Wendy goes back and forth, breaking their own self-imposed rules. It comes to a point where no one feels like they’ve made any momentum forward. A main thread is indecisiveness, but it feels less intentional and more like padding to stretch this out.
However, The Sun Never Sets knows how to stick the landing and remains consistent with the difficult, adult conversations it strives to highlight. There were several cookie-cutter paths to take, but Swanberg isn’t interested in comfort and takes us in a realistic direction that still leaves room for light.
Swanberg seems to be entering a new phase of his career with a sense of revived enthusiasm and refreshed perspective. The Sun Never Sets doesn’t just feel like a return, but a door opening for the indie darling. He’s always managed to capture the intricacies of humanity in a way that feels tangible and relatable, and he’s still doing that here. But it’s clear that Swanberg isn’t interested in staying the same and wants his work to grow with him. He knows that people stay complicated, no matter their age; they just maneuver it differently.
Review Courtesy of Adam Patla
Feature Courtesy of IFC via The Hollywood Reporter