The Sun Never Sets
Joe Swanberg‘s ability to write real life shines once again in his latest film, The Sun Never Sets. Wendy, a woman in her early 30s, has been dating Jack, a father of two great kids, for two years now. Wendy is an outdoorsy, impulsive Anchorage native whose dreams of marriage and kids don’t fit into her current relationship.
Jack puts her in an impossible position, proposing that Wendy take a few months to explore other options to make sure she understands that Jack does not plan to remarry or have more kids. The consequence of this well-meaning deal? Wendy runs into her ex and sparks fly. Now she must wade through the complexity of age and stage, unresolved trauma, and all the what-ifs in life.
Watching each other date rewires Wendy and Jack. Chuck is trying his best to get his shit together; it just happens to be a slower process. Jack immediately regrets his proposition and goes all in, pushing Wendy to confront mixed messages. Can the two overcome passion, sadness, and regret to find one another again as reality crashes around them?
Anna Konkle plays Jack’s ex-wife. Their chemistry is lovely. Konkle gives Johnson a gentle sounding board for his headspace. They feel like a real-life co-parenting team with an amicable, we used to be married connection. Debby Ryan is the best friend every woman wishes she had. Authentic and level-headed, she is always a delightful addition.
Lamorne Morris plays Jack’s confidant. While we only see him in scenes with Johnson via Zoom, their years-long relationship in real life shines through with humor and heart. Morris, like Ryan, brings sincerity to the film. Corey Michael Smith gives Chuck the right amount of frustration with his current state, while also delivering a breezy connection with Fanning’s Wendy.
Jake Johnson plays Jack with a grounded sense of self. Jack is a grown-up in all the right ways. Anyone who’s been an avid reader of my work knows how much I adore Johnson. His effortless charm sneaks under your skin, and Jack is no exception.
Dakota Fanning gives Wendy the most earnest longing to figure life out in her 30s. Like every role she tackles, her tangible humanity is magnetic. Johnson and Fanning’s chemistry is off the charts. The arguments feel more like intimate peeks into the viewer’s life than acting.
The script forces Wendy to choose between a spontaneous and seemingly perpetual bachelor and an adult. While all three people are flawed, they are also incredibly human. Swanberg is a master at making the mundane the most important. This is why his films hit on a different level.
Unresolved feelings take years to manage, no matter how much you care for someone. There is no big secret to how we grow as couples or individuals as life rolls on. Swanberg taps into undeniable life truths. Love is unpredictable. Love is messy. Love is work.
While I was initially let down (maybe for 30 seconds) by the ending, Swanberg absolutely delivers perfection in those final moments. Wendy’s pursuit of closure with everyone is emotionally healthy, and who knows what the future brings for her. The Sun Never Sets is hopeful.
IN THEATERS EVERYWHERE SEPTEMBER 4, 2026
Synopsis: Wendy (Dakota Fanning) believes she’s perfectly happy in her relationship, until her older boyfriend, Jack (Jake Johnson), who is divorced with children, insists they take a break to make sure she’s truly okay giving up on the idea of marriage and babies. During this time, Wendy unexpectedly runs into her ex, Chuck (Cory Michael Smith), who reignites her carefree and spontaneous side, and suddenly seems to want a family. The three of them navigate a chaotic, confusing, and often funny relationship triangle, reminding us that the pursuit of love is beautiful and messy all at once. The film was shot on 35mm on location in Alaska.
Writer, Director, & Editor: Joe Swanberg
Cast: Dakota Fanning, Jake Johnson, Cory Michael Smith, Debby Ryan, Anna Konkle, Lamorne Morris, Karley Sciortino
Producers: Jake Johnson, Ashleigh Snead, Joe Swanberg, Dakota Fanning, Cory Michael Smith
Executive Producers: Kathy Gitibin Parsa, Ariana Parsa, Dan Johnson
Director of Photography: Eon Mora
Genre: Romantic Drama
Language: English
Runtime: 102 min
Remaining Tribeca screenings of General Admissions:
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![Carolina Caroline (2025) - [www.imdb.com]](https://i0.wp.com/reelnewsdaily.com/wp-content/uploads/Carolina-Caroline-2025-www.imdb_.com_.png?resize=602%2C886&ssl=1)
Samara Weaving plays Caroline with both a curious innocence and a ferocious need. A woman with deep-seated mommy issues and supposed free will looking to feel seen. Kyle Gallner, AKA My Music Boyfriend (IYKYK), AKA Scream King, is our charming bad influence, Oliver. A whip-smart, observant, effortless hustler, his journey is just as complex as Weaving’s. Gallner always makes it look easy. The two share a goo-goo-eyed chemistry that makes the knees weak. You are buying every dangerous and sensual beat.
As their crimes progress from petty to armed, Caroline’s conscience creeps in, and a close call digs a deeper hole for her and Oliver. Rehmeier keeps the audience on their toes from the get-go, using Oliver’s teaching techniques to lure you into his game, but suspect a potential long con. But Rehmeier and writer Tom Dean are smarter than that with a script that knocks it out of the park. 
Of course, the score god Chris Bear did the music. Bear, Rehmeier, and editor Justin Krohn understand the emotional impact of a strategically placed song. The red, white, and blue costumes (which match the opening credits) are iconic. Rehmeier’s ability to create a visual identity in his films is truly chef’s kiss. 
Fantasy Life
Sam finds musician David’s absence a subconscious excuse for connecting with the beautiful but aloof Dianne. As the months roll on, Dianne is working out her midlife crisis shit with Sam as her newfound bestie. Crashing out, and rightfully so, over aging, a waning acting career, and deepening depression. Sam, managing the eclectic needs of the three girls, a seemingly narcissistic husband, and his own feelings of inadequacy, must navigate new feelings and old fears.
Something that really stood out to me from an acting and writing standpoint in Fantasy Life warrants a mention. Eating scenes are actually quite rare in film. I don’t mean sitting at a table doing dialogue, I mean actually consuming food as the actors speak. It’s one of the most natural actions in our everyday lives, but we don’t often get treated to genuine relationship-building when actors have their mouths full of food. That simple and very specific choice by Shear has such an impact. It solidifies an immediate intimacy between Sam and Dianne. Bravo.
For all the reasons, Shear and Peet have the most electric chemistry. They share a beautiful, “will they, won’t they” energy, far beyond the trope itself. It’s so very easy.
Jordan Dulieu (Danny) gives us an emo rocker heartthrob and villainous mayhem with equal fire. He is genuinely mesmerizing. Avalon Fast (Gen) is great. Her delivery is so natural, you might think she’s in a documentary. Alexandra McVicker (Anna) brings innocent ingénue energy. The three have stellar chemistry. I not-so-secretly wanted a threesome scene between them. Shout out to Intimacy Coordinator, Zoe Taylor, for the overall hotness. 
MacKay has a neon-saturated visual calling card and always provides a kick-ass soundtrack. Another genius collab with 
SXSW 2026 Watchlist
Religious and political parallels are undeniable magic. The dialogue is a modern version of a bawdy Shakespeare comedy, cleverly tongue-in-cheek and playing right into toxic masculinity. Even our three main characters’ names are pure, double-entendre delight. 100 NIGHTS OF HERO weaves fable, witchcraft, and feminism seamlessly. 
Xenia Patricia
Maika Monroe
DANIELA FOREVER
As Nicolas learns to navigate and control his time and environment with Daniela, real life pales in comparison. He selectively shares information with the scientists, and suddenly Daniela’s behavior evolves, allowing Nicolas to control her newly created memories. With each evolution of his dream states, Nicolas destroys the dimensions of reality, while also coming to terms with his selfish behavior.
The lighting is dazzling. The stark visual contrasts, including varying aspect ratios, between the memory and the present, are incredible. The grainy, Super 8 camera effect screams sadness, while the sharp, CGI-enhanced dream state envelops the audience from every angle and emotion.
Fans of Eternal Sunshine of the Spotless Mind will instantly vibe with DANIELA FOREVER. Vigalondo delves into selfishness, manipulation, and jealousy through his penchant for magical realism, sci-fi, and visual spectacle. If you are familiar with his resume, you understand how perfectly this film slots into his catalog. This exploration of anguish is undeniably extraordinary, but more importantly, DANIELA FOREVER is about rediscovering what makes life glorious, cherishing the details, honoring the mundane, and remembering how much joy still exists. It very much tackles the adage, “If you love something, set it free.”
DON’T TELL LARRY
Dot-Marie Jones and Ed Begley Jr. serve up pro performances that most certainly elevate DON’T TELL LARRY. Kiel Kennedy has a genuine Will Ferrell energy. His portrayal of Larry is cringe, uncomfortable, and entirely unhinged. It’s wild and wonderful. I won’t say more because seeing is believing. Kennedy gives Larry a larger-than-life persona, mastering the comedy and terror. 
Kenneth Mosley is Patrick, Susan’s work bestie and equally fabulous sidekick. Do yourself a favor. Watch Mosley’s reel on IMDB. You will wonder why he isn’t on every screen in your home. His performance as Patrick immediately catches you off guard in the best way. He’s magnetic. Patty Guggenheim is unforgettable as the hyper-ambitious Susan. Guggenheim is a star. She has a similar energy to Julia Louis-Dreyfus. Her comic timing and charisma pull you in. Her chemistry with Mosely makes me want a sequel/spin-off/whatever!
EGGHEAD & TWINKIE
Asahi Hirano plays Jess with a comfortability that is chef’s kiss. Acting like an LGBTQ+ sensai for Twinkie, Hirano makes the conversation flow easily. She is a delight, someone who could carry a spinoff film. Louis Tomeo as Egghead is fantastic. He is laugh-out-loud funny in his natural delivery. The sass is perfection. Holland allows him to show his comedy chops through the script and hilarious editing from Anna DeFinis and Kristina League. Sabrina Jie-a-fa plays Twinkie with a perfect balance of audaciousness and hesitancy. We see authentic coming-of-age and coming-out stories in her journey. Together, Tomeo and Jie-a-fa are a spectacular duo. You will fall in love with them. 
The teenage shenanigans ring true. That feeling of invincibility and daring reminds me of my crazy ideas and dumb decisions in the late 90s. Egghead and Twinkie take risks, make mistakes, hurt each other, get their hearts broken, and confess their fears. The film is a helpful guide for parents struggling to understand their kids’ feelings. Regardless of their core beliefs, 
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LOCKJAW
![Lockjaw (2025) - [www.imdb.com]](https://i0.wp.com/reelnewsdaily.com/wp-content/uploads/Lockjaw-2025-www.imdb_.com_.png?resize=440%2C683&ssl=1)
Blu Hunt is a comic genius. She has that it-girl quality. I’m buying whatever she’s selling at all times. Her commitment to the dialogue or a particular gag is chef’s kiss. Hunt recently wowed me in The Dead Thing. She is just as compelling in Lockjaw.
Čejen Černić Čanak profound Berlinale drama SANDBAG DAM follows Marko, an athletic young man navigating his younger brother, school, sports, and girlfriend, Petra. His life upends when Slaven returns home for his father’s funeral. With the threat of flooding in his small Croatian village, his long-lost feelings for Slaven threaten everything.
Marko exists in a traditionally masculine environment. His father is a mechanic, training him to take over the business and compete in an upcoming arm wrestling competition. His free time consists of drinking at parties and attending to his eager-to-please girlfriend. Then, his seemingly easy life suddenly halts when Slaven returns after three years and no goodbye.
The story slowly reveals itself with an innocent bitterness and longing. If you go into the film blind, nothing is spoonfed to the audience. It is beautifully paced. The homophobia in Sandbag Dam is excruciating. The weaponization of hurt and ignorance is devastating.
The performances are spectacular. Leon Grgić is endearing as younger brother Fićo. He has a genuine star quality. His purity will make your heartache. Andrija Žunac gives Slaven an authenticity that is calming. His unapologetic aura is sensational. Lav Novosel delivers a pitch-perfect turn as Marko. Torn between the life he yearns for and the one he feels forced to accept, Novosel brings us on an emotional roller coaster we have no control over. You feel the conflict in your soul.
The film has a similar energy to Brokeback Mountain. Its restrained tension is waiting to burst at any moment. There is no denying the double entendre of the title. As the floodwaters rise, so do the tensions of secrets and feelings. Screenwriter Tomislav Zajec provides stunning metaphors. SANDBAG DAM is an important story. It is one that so many LGBTQ youth must endure. The final moments will have you talking about this film long after the credits roll.
Addison Heimann is a queer genre filmmaker currently residing in Los Angeles. His first feature, Hypochondriac, premiered at the 2022 SXSW Film Festival and was distributed by XYZ Films. His goal is to tell queer stories that explore mental health in the genre space.
Evan Twohy was raised on Hitchcock and opera on the edge of a forest outside Berkeley, California. From an early age, he found himself drawn to absurdist theater and began writing plays in New York City prior to making his first feature, Bubble & Squeak.
Beautiful camera work has an immersive feel. Eccentric production design initially mirrors Anx’s graphic artist occupation, eventually morphing to match the ever-evolving circumstances of the disease. There is a Tim Burton/JimHenson-esque quality to the creature fx. A grotesque whimsy that makes it difficult to look away.
Matthieu Sampeur and Edith Proust give us magnificent performances. The script possesses a dark inevitably the longer they are together. Director Thibault Emin, alongside co-writers Alice Butaud and Emma Sandona, delivers a surprising link to childhood trauma in Anx. The existential aspect creeps up on you and burrows under your skin. The psychosexual element is bonkers. ELSE is a genre-obliterating love story.
2. The varying visual aspects are so cool, from the black and white to the halo effect. Those specificities keep the audience relatively grounded in Jack’s chaotic “space and time.” What did this storyboarding look like? With all the elements involved, I imagine it was a huge wall or an entire room.
4. Can you tell us about casting Kelly Marie, Chris, and Jack? Their chemistry is magic. Did you let them play with dialogue during the shoot?
5. The set is incredible. As a theatre nerd, it was immersive enough for the imagination to fill in the blanks and for the cast to play on. How did you decide on a unit set?
6. Would you and Nik consider a franchise with new characters? I would be the first person watching the interactions of other people’s minds swirling with what-ifs!
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In Luna Carmoon‘s debut, HOARD, it is 1984, and Cynthia and Maria live a trying existence. Mom is a hoarder with chaotic mood shifts. Maria exists in freefall, never knowing when she’ll be bullied or exposed to inappropriate scenarios. An accident leads to foster care. In 1994, teenage Maria latches onto a visitor and former foster as he attempts to tap into her unresolved grief and trauma.
Hayley Squires delivers authentic emotional distress. Hoarding is a trauma response and, often, a mental illness. Squires slides into that skin with astonishing ease. Her highs and lows are captivating.
Her and Quinn’s chemistry is glorious. Their unfiltered bond fascinates from start to finish. Together, their animalistic instincts create a healing trauma bond like no other.
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Joseph Kahn
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