Jesse Eisenberg and Christophe Zajac-Denek co-star in “Sasquatch Sunset.” Credit: Bleeker Street
Seeing Bigfoot Sunset is an envigorating experience, in part due to the fact that it is so unusual– while revolting and wholehearted– that it feels sometimes more like a hallucination than a movie that might really exist. If absolutely nothing else, it's the sweetest film ever made that functions shit-flinging.
Buzzed about out of its Sundance best, Bigfoot Sunset On a household of nomadic cryptids, who hunt, collect, sleep, hoot, and battle in the middle of an imposing wilderness. In some aspects, the movie's co-directors, siblings David and Nathan Zellner, conceived Bigfoot Sunset like a nature documentary, with broad angles taking in the large forests around the eponymous animals. Peaceful close-ups welcome human audiences to look for significance in the furrowed eyebrow of the bigfoot household, who interact in grumbles, grunts, and growls. There is no voiceover storyteller to include context, or relieve us in comprehending the odd methods of these monsters. And David Attenborough would blush at the animalistic nature the Zellners depict, that includes spraying urine, flinging feces, onscreen breeding, full-frontal Sasquatch genital areas, and a most innovative usage for afterbirth. (Nope. Not that a person.)
There's definitely a self-aware humor to these boldly gross-out minutes. The Zellners have something more severe stirring at the movie's core.
Bigfoot Sunset is taken on by Riley Keough.
Riley Keough stars as a bigfoot in “Sasquatch Sunset.” Credit: Bleeker Street
In between 2014's whimsical drama Kumiko, the Treasure Hunter and the 2018 unusual Western dramedy Damselthe Zellner Brothers have actually constructed a credibility for making movies that move drastically yet poetically in tone. Their stories are strange, bittersweet, and lovely. With Bigfoot Sunset, they continue this course, clashing a genuine household drama with scatological humor and star power gathered in fur.
Riley Keough, the American starlet who's played free-spirited appeals in Logan LuckyUnder the Silver LakeZola and Daisy and the Six is genuinely indistinguishable here, covered head to toe in prosthetics and fur changing her into a mom Sasquatch. Joining her– and also mythically made over– are co-director Nathan Zellner, who plays an aggressive alpha male; Jesse Eisenberg, as a delicate beta male; and Christophe Zajac-Denek as a Sasquatch cub.
In the beginning, it can be a difficulty to construct who is who, as the household similarity is strong in hair color and down-turned expression. In the past long, the human eyes peering below the noticable prosthetic eyebrows end up being distinct enough. Zellner specifies his brute with a hulking physicality and surly glare. Zajac-Denek bounces about with a guileless lightness, a babe in the woods. Eisenberg putters about the forest so carefully, it's simple to picture his Sasquatch fitting in amidst a famer's market. In fact, sometimes,
