Sasquatch Sunset might be the most bizarre movie you ever see. The Zellner brothers, who are surrealists by trade, do a deep dive into Bigfoot legends with equal parts absurdity, heart and a dark commentary on man’s destruction of nature. There is no dialogue or three-act structure to speak of; rather, this cast grunts and howls its way through what should probably be called Sasquatch porn — lots and lots of Sasquatch porn. Yes, you read that right. To say it’s not for everyone would be putting it mildly. But there is something about the purity of its commitment to itself that rewards an open mind.
Set over one year in a lush mountain range where the sun never seems to set, “Sasquatch” introduces us to four creatures with different temperaments but uncannily human expressions: an alpha male (David Zellner), who barrels forward with little regard for anyone else; the lone female (Riley Keough), whom he constantly sexually provokes; her adolescent male offspring (Christophe Zajac-Denek), who frequently gets in trouble and appears to have an active imagination; and a subordinate male (Jesse Eisenberg), possibly related but more likely just another member of their small community. They all look like early hominids with all the dangling bits exposed.
The “plot” —and that term is used very loosely here — begins in spring, with what seems like documentary footage of the sasquatches going about their daily lives. They roam around together through the forest looking for things to eat and places to sleep. Mushrooms, berries and leaves are dietary staples, but meat is also on the menu. Like apes in the wild, they groom each other carefully for parasites; any ticks they find are chomped down as tasty treats. They collect branches and large leaves to make shelters where they all cuddle up together at night. In this respect, they’re more advanced than modern primates in their use of tools.
The laughs start early and often here, beginning with a sasquatch sex scene that defies categorization. This isn’t National Geographic or the Discovery Channel; it’s the first indication of the Zellner brothers’ graphic sense of humor. Don’t worry, folks: You’re not watching sasquatch pornography. The Zellners are not trying to get weirdly horny on main. Animals in nature pursue physical pleasure to varying degrees; the alpha’s aggressive horniness is par for the course for primates, as is the female’s sporadic interest in coupledom. She gets in the mood but doesn’t have anywhere near her partner’s libido. Mating and other bodily functions are shown in scatological glory.
The Zellner brothers’ approach to storytelling could best be described as opportunistic: These creatures move around constantly because they need to find food — until what also must be called a plot twist appears, revealing that there is an ongoing search for other members of their species because there may be some indication that they might actually be — wait for it —the last ones left on Earth? Anyway, from here on out, environmental themes take center stage, which leads you to wonder how this group formed in the first place and if (or rather when) larger society systematically decimated them. Various threats emerge along their journey south that shed light on these questions and others you may not have thought you had before you sat down to watch “Sasquatch Sunset.” What happens next is both shocking and deeply sad at times.
The emotional center of Sasquatch Sunset is resonating, you can’t help but feel the exasperation and weariness of the female who is at the center with the most responsibility; a clear shout out to women bearing the burdens of overall successful progression; the adolescent wouldn’t last a day without her; she continues to breastfeed him when they can’t find food, scenes are striking, though not exceptional – primate females put their children’s lives first… The Zellners do an excellent job framing her instincts.
Jesse Eisenberg and Riley Keough are completely unrecognizable in these detailed and extremely realistic prosthetic suits. The cast’s physical movements, vocal intonations, facial expressions… convey so much information about what they’re thinking or feeling… you know what these people are thinking or feeling! I cannot overstate how difficult that is! Imagine a mime doing multiple film takes in a hot-as-hell hairy suit in the woods to express this rambling narrative. That’s hard. Sasquatch Sunset would’ve been ridiculous if you didn’t believe them. These performances are extraordinary.
Sasquatch Sunset has enchanting cinematography that draws us into nature’s splendor more than anything else I’ve seen this year. (The Zellners have made Kid-Thing, Kumiko, the Treasure Hunter…) They shine their light on all things great and small as mist rolls across dazzling green fields while butterflies float through it all making your heart soar higher than ever before — sasquatches too should be part of such beauty where everything works together perfectly because nothing could exist alone like this forever no matter what happens next when humanity intrudes upon paradise itself with artificial pollutants brought about by limitless greed after spoiling it anyway knowing full well resources aren’t infinite and never were but still not caring just like always since we know now that whatever is lost can never return.
While perhaps some restraint might have been more palatable for the masses, the Zellners gleefully went overboard. There were several dumbfounded faces in my audience and one woman who looked like she wanted to leave five minutes into the film. But really, how much sasquatch shagging, peeing and pooping can you take before you lose sight of the artistic intent here?
