Joe Swanberg’s "The Sun Never Sets": A Subversive Exploration of Romantic Stasis and Alaskan Isolation
Joe Swanberg, once the enfant terrible of the mumblecore movement, has returned to the director’s chair with a project that both honors and deconstructs the traditional romantic comedy. His latest feature, The Sun Never Sets, finds the filmmaker continuing his career-long obsession with the friction between modern relationships and sexual boundaries. Starring Dakota Fanning and Swanberg regular Jake Johnson, the film attempts to navigate the treacherous waters of commitment, biological clocks, and the peculiar social landscape of Anchorage, Alaska.
While the film utilizes the familiar bones of a love triangle, it pivots away from Hollywood sentimentality, opting instead for a performance-driven, 35mm-shot exploration of people who are as difficult as they are directionless.
1. Main Facts: The Premise and Creative Vision
At its core, The Sun Never Sets is a study of a relationship at a crossroads. Wendy (Dakota Fanning) and Jack (Jake Johnson) have spent two years building a life together in Anchorage. Jack is a "sedate" single father of two, content with his status quo and weary of the complications that come with marriage and new children. Wendy, conversely, finds herself haunted by the specter of conventional milestones—a feeling exacerbated when her best friend Lindsay (Debby Ryan) announces her pregnancy.
Swanberg, acting as writer, director, and frequent collaborator with his cast, uses this domestic tension to launch a "social experiment." To ensure Wendy is truly happy and not merely settling, Jack proposes a six-month "break" during which Wendy is encouraged to see other people. This premise sets the stage for a narrative that Swanberg describes as an expansion of the romantic comedy’s sexual and emotional parameters.
The film is notable for its technical pedigree, shot on 35mm film to capture the muted, naturalistic textures of the Pacific Northwest. Despite the high-end format, the film retains the "visually inconspicuous" style that has become Swanberg’s trademark—a choice that focuses the audience’s attention squarely on the performances and the dialogue rather than cinematic artifice.
2. Chronology: From Domesticity to a Love Triangle
The Catalyst of Discontent
The film opens with a series of drone shots and indie-pop melodies that suggest a traditional romantic journey. Wendy is seen driving through Anchorage, looking wistful. The narrative quickly establishes the source of her melancholy: the misalignment of life goals. While Jack’s life is already "full" with two kids and an ex-wife, Wendy is staring down the barrel of a future that may never include the wedding or the children she realizes she wants.
The "Sabbatical" Proposal
The turning point occurs when Jack, sensing Wendy’s growing resentment, suggests they take a hiatus. His logic is rooted in a paradoxical form of altruism: he wants her to be "absolutely sure" he is the one, even if it means losing her. Despite her reluctance, Wendy accepts the terms, and the two enter a period of sanctioned separation.
The Return of the "Bad Boy"
Jack’s confidence in this plan is bolstered by his low opinion of the local dating pool. In a comedic Zoom cameo, Jack’s best friend (played by Lamorne Morris) warns him that the plan is "half-baked." Jack dismisses the concern, joking that Anchorage is merely "a bunch of sweaty guys who smell like salmon."
This arrogance is immediately punished by the arrival of Chuck (Cory Michael Smith), Wendy’s former flame. Chuck, once a "bad boy," has returned to town with a radical change of heart. He doesn’t just want Wendy back; he wants to provide everything Jack won’t—marriage and a family of seven children.
The Escalation of Red Flags
As the story progresses, the "love triangle" becomes a race to the bottom. Jack, realizing he has made a tactical error, becomes increasingly desperate to reclaim Wendy’s affection. Meanwhile, Chuck’s initial charm begins to crack, revealing an immaturity that makes him a questionable alternative. The film spends its second act oscillating between these two men, leaving Wendy with two choices that both seem riddled with "red flags."
3. Supporting Data: Cast Dynamics and Technical Execution
The "New Girl" Synergy
One of the film’s most discussed elements is the reunion of New Girl alumni Jake Johnson and Lamorne Morris. Their chemistry provides the film with its most organic comedic beats, though Morris’s involvement is limited to a brief appearance. Johnson, a staple of Swanberg’s filmography (having starred in Drinking Buddies and Win It All), brings a grounded, slightly exhausted energy to Jack that balances Fanning’s more ethereal, internal performance.
The Setting: Anchorage as a Generic Backdrop
While set in Alaska, The Sun Never Sets avoids the "travelogue" trap. Instead of focusing on the majestic wilderness, Swanberg focuses on the mundane interiors of the city:
- Craft Beer Bars: A recurring motif in Swanberg’s work, representing a specific type of modern, middle-class socialization.
- Art Galleries and Dive Bars: Locations where the characters engage in trivia nights and social maneuvering.
- Suburban Kitchens: Where the most "stressful" and emotionally charged conversations occur.
Technical Specifications
- Format: 35mm Film.
- Cinematography: Naturalistic, favoring long takes and minimal camera movement.
- Soundtrack: Generic indie-pop, used to contrast the often-uncomfortable social interactions on screen.
4. Official Responses and Critical Reception
The initial critical response to The Sun Never Sets has been polarizing, reflecting the divisive nature of Swanberg’s "naturalism."
The Critique of "Social Propriety"
Critics have pointed out that the characters often act as if they have never been "inculcated with a rudimentary sense of social propriety." A key example cited is a scene where Wendy, on a date she didn’t want to attend, runs into Chuck and immediately dismisses her date in a cold, abrupt manner. This behavior is mirrored later by Jack, leading some reviewers to describe the protagonists as "unflappable sociopaths."
The "Bizarre and Boring" Label
The film has been described by some as "signature Swanberg"—performance-driven and putatively adventurous, yet simultaneously "bizarre and boring." The disconnect between the high-stakes emotional manipulation (the "stress positions" the characters put each other in) and their calm, level mannerisms has been a point of contention. Some argue this disjuncture creates an "inadvertent strangeness" that prevents the audience from fully connecting with the characters.
Comparison to the Masters
Film scholars have noted Swanberg’s admitted inspiration from Maurice Pialat. However, critics suggest that while Pialat used externalized volatility to drive his emotionally bruising scenarios, Swanberg’s characters remain "too concerned with remaining likable and smooth on the surface."
5. Implications: The Evolution of the Modern Rom-Com
The Sun Never Sets carries several implications for the future of independent cinema and the romantic comedy genre:
The "Post-Mumblecore" Identity
The film demonstrates Joe Swanberg’s transition from the low-budget, improvisational roots of mumblecore to a more polished, yet still idiosyncratic, form of filmmaking. It suggests that while the "enfant terrible" has aged, his interest in the "willfully abrasive" remains, even if it is now packaged in 35mm and stars A-list talent like Dakota Fanning.
Subverting the "Happily Ever After"
By presenting Wendy with two equally flawed choices, Swanberg subverts the traditional rom-com arc where the protagonist finds "the right one." Instead, the film suggests that in modern relationships, the choice is often between different sets of compromises. This cynical take on the genre reflects a broader trend in indie cinema toward "anti-romance."
The Paradox of Likability
The film serves as a case study in the "likability" trap. By having characters maintain a calm exterior while performing socially "monstrous" acts, Swanberg challenges the audience to find empathy for people who refuse to follow social scripts. This approach risks alienating viewers who seek emotional catharsis, but it offers a unique, albeit "strangely becalmed," look at the human condition.
Conclusion: A Film of Self-Made Traps
Ultimately, The Sun Never Sets is a film about people in self-made traps. Like its protagonists, the movie seems to want to "have it all"—the beauty of 35mm, the charm of a rom-com, and the grit of a character study—but it often finds itself caught in the middle. For fans of Swanberg’s specific brand of craft-beer-soaked realism, it is a fascinating addition to his canon. For others, it remains a "bizarre and boring" experiment in Alaskan isolation.
