Movie review|Sasquatch Sunset, about North America’s mythical bigfoot, may be trying to say something deep, but it’s covered in feces.
Comedy
Sasquatch Sunset. Directed by David Zellner & Nathan Zellner. 88 min. K12. ★★
Not a word dialogue. Just noises, grunts and grunts. Four actors dressed in monkey costumes, who try to describe the life of the mythical big feet with their eyes and gestures.
Like watching 2001: A Space Adventure opening scene, but stretched to an hour and a half and contradictory.
Superficially the main difference is that Sasquatch at Sunset there is an incredible amount of secretions. Vomit, feces, urine, drool and so on.
In addition, there is a disturbingly long copulation scene, prosthetic penises, masturbation, berries and mushrooms that cause stomach upsets and hallucinations, and toilet humor in general.
Excrement scoops fly anywhere, except if the big feet are scared, then the excrement just rolls. The film is marketed as a partial comedy, and is toilet humor of the lowest order.
It seems from everything that this must have been a cult hit at various film festivals.
For four people a bigfoot tribe is trying to survive at the mercy of threatening nature somewhere in Northern California, in the shadows of redwoods and mammoth hides.
Alpha male (Nathan Zellner) does his best to provoke and cause conflict after conflict. Female (Riley Keough) gets pregnant right at the beginning of the film and gives birth later. More secretions.
The female’s previous son (Christophe Zajac-Denek) follows mostly from the side. Additionally, there is a beta male (Jesse Eisenberg), which just seems really stupid.
A tribe preconceptions are followed with a naturalistic approach. Motion picture cameraman Michael Gioulakis has caught a few landscapes that bring to mind Terrence Malick’s ethereal and philosophical image processions. Some kind of fake folk is playing in the background.
Only David Attenborough missing, fortunately.
Sometimes the tribe beats the trees with calicos to the same rhythm, apparently with the intention of communicating with other tribes. There is no answer.
In addition to this act of remarkable social intelligence and learning, the youngest member of the tribe learns to talk to an imaginary friend.
When the big feet are so intelligent, one can’t help but wonder how much of a shock it would be for them to bump into the traces of the human world.
A tree marked for felling with a red X is like of 2001 monolith. And when the tribe then finds a road through the forest, all hell breaks loose.
How has the tribe not been in contact with the doings of humans before, when it has nevertheless learned to communicate with other tribes? I thought about this for the entire second half of the movie.
The contradiction is so great that the film’s already quite lame premise becomes impossible to believe. All other possible nuances are lost.
Would it the original idea went something like this:
Unlike in 2001the big feet don’t learn anything from the monuments of a civilization infinitely more sophisticated than themselves, but turn into even worse specialized machines? Because in fact our human achievements, with the anthropocenes and the destruction of nature, do not come from anywhere?
Maybe so, but in that case the film is simply a banal special celebration.
Written by David Zellner, Starring Riley Keough, Jesse Eisenberg, Christophe Zajac-Denek and Nathan Zellner.
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