The legend of the Sasquatch has persevered for decades at this point, becoming the subject for many a horror film. Too often we have seen the Sasquatch depicted as a menace, some manner of odd, overly-large creature intent on harming anything that crosses its path. Curiously enough, writer/director David Zellner and his directing partner, Nathan Zellner, opt for an entirely different approach. Their take meanders along, emulating a nature documentary as it follows a year in the life of a Sasquatch family. Behind the layered makeup and costuming are four actors, two of whom are among the Hollywood A-list: Riley Keough (The Lodge, Daisy Jones and the Six), Jesse Eisenberg (The Social Network, Zombieland), Nathan Zellner (Damsel, Kumiko, The Treasure Hunter), and Christophe Zajac-Denek (Twin Peaks, Tales of Halloween). These are people who studied with mimes to perform exaggerated expressions for this dialogue-free affair. While Sasquatch Sunset interests in concept and curiosity alone, its premise would be better suited to a short. Instead, we are left as casual observers to tonal confusion, overt strangeness, excessive defecation, and slapstick humor that rarely functions as a proper film.
What exists of a storyline basically follows this central Sasquatch family as they exist and survive off the land. None of them have any names, nor do they speak any words whatsoever. Instead, their wants and needs are portrayed entirely through body language. Seasons pass, as portrayed onscreen by blankly stating SPRING, SUMMER, and WINTER. Curious moments begin superfluously. In an almost vignette style, we bear witness to the members as they run into obvious, easily-avoidable obstacles. One of them has a snapping turtle chomp down on their tongue. Another sniffs a skunk with a ridiculous level of vigor and excitement. Each roadblock in their forward momentum does little to rattle any members of the family, up until a sudden tragedy spells certain doom for one amongst their ranks.
On a personal level, I struggled to figure out who the audience was for this bizarre feature. Numerous walkouts during its Sundance premiere tell me I may not be the only one who did not fully connect with the material. Even so, there are undeniably some moments that work on a strange level. Recalling the caveman sketch from GEICO, singular segments feel like they function on a smaller scale rather than within the framework of a movie at large. When the Sasquatch-people are not fighting with each other (which consists of lots of grunting, yelling, and jumping up and down), they share more than a few compassionate exchanges of connection. It takes a hell of a film to actually sell being dialogue-free. Though the Sasquatches encounter human items deep within the woods, they never once interact with any humans. What a missed opportunity; though it would probably not go well for them, I would have loved seeing at least one of these types of interactions.
Decidedly less successful than the tender moments are the gross-out gags, including the crowning glory when the Sasquatch gang comes across a paved road. Almost equally disgusting is a vomit gag, and a Sasquatch childbirth pushes the boundaries of good taste. Needless to say, do not attempt to eat food before or during the viewing of this curious title. Rarely do the laughs elicit more than a chuckle or two, but I have to admire the pure audacity in even trying to film a movie this outrageously different from anything going into theaters right now. I struggled to rate and review it for the simple fact that I do think some of it works. Sasquatch Sunset walks a tightrope of weirdness that threatens to collapse at any moment. Led by strong performances and a quirky tone, something about its deep sadness does not quite gel. I have little doubt this will be one of the most divisive movies of the year. While fun in short doses, maybe the Sasquatches should have stayed permanently in hiding.
Emerge anew into the Sasquatch Sunset, climbing into civilization—and theatres everywhere—on Friday, April 19th.
