‘Sunfish and Other Stories on Green Lake’ Review: A Relaxing Omnibus Movie Dips Its Toe in a Small-Town Michigan Summer

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14-year-old girl is bound to reside at her grandparents’ lake house because her spontaneous mother runs away and focuses on her new spouse. Simultaneously, a diligent violinist at a cutthroat music camp across the water is working hard to secure the first chair position, forgoing the meaningful relationships he yearns for. On the other hand, a fisherman at the local tavern discovers an unusual accomplice in his quest to catch the massive fish that could transform his existence. Lastly, two sisters spend their summer at a family-run inn before one of them departs for college at the end of the season.

Instead of focusing on specific characters or individual storylines, it is the shared setting – a series of vignettes set around Green Lake in northern Michigan, where writer-director Sierra Falconer once lived and which is home to a close-knit, picturesque community – that binds together “Sunfish and Other Stories on Green Lake.” This leisurely paced anthology film premiered in the U.S. dramatic competition at Sundance, despite not receiving any awards from the jury. However, the mere fact that Falconer’s debut feature (initially conceived as her master’s thesis at UCLA) was recognized at such a high level is already significant. Additionally, attracting the attention of “The Souvenir” director Joanna Hogg, who joined as an executive producer, further boosted the project’s profile.

As a cinephile, I found myself immersed in Falconer’s serene world, where the soothing rhythm of a harmonica tune and captivating calendar-art shots set the stage. Over the course of this 87-minute cinematic journey through the summer, Falconer delicately observes her characters, much like two compassionate birdwatchers studying avian life in the opening scenes. Through their binoculars, Nan (Marceline Hugot) and Pop (Adam LeFevre) eagerly spot a young loonlet on the water’s edge. In the very near future, they will take on a similar responsibility, as Lu (Maren Heary), a young bird of their own, is entrusted to them for safekeeping throughout the summer.

Lu is the one who decides to rescue the orphaned loon chick and bring it inside, as if projecting her own feelings about Lauren Sweetser’s abandonment onto the endangered bird. Heary portrays a grittiness in the role that mirrors young Jennifer Lawrence during her performances in “The Poker House” or “Winter’s Bone,” even though the script itself doesn’t involve much conflict. Lu indulges in pancakes and learns to sail Pop’s one-person sailboat, observing what other kids her age are doing around the lake (she notices the neighbors playing on a trampoline, but never interacts with them).

Prior to creating a narrative that could be shaped into a compelling story, Falconer directs our focus towards Jun (Jim Kaplan), one of the rare Asian-American students at an elite music camp. His early achievements, as a potential stepping stone for a career in concert musicianship, are heavily emphasized by his environment. However, his mother (Bella Shaw), who is quite demanding, pushes him to excel beyond measure. The way Jun looks at a seemingly effortless prodigy (violinist Giovanni Mazza) across the cafeteria hints at feelings of either envy or admiration. This segment might not be fully fleshed out compared to the others, but it strikes a chord with emotions that many teenagers can relate to. In my personal perspective, I find myself resonating with Jun’s experiences.

Intriguingly, if given a little more space, the subsequent “Two-Hearted” segment could potentially serve as the script for a captivating movie. As a hardworking single mom named Annie (portrayed by Karsen Liotta), I overhear Finn (Dominic Bogart), a frequent patron at the bar where I work, recounting tales of a colossal fish he claims to have seen in Green Lake. Skeptical are his companions, but there’s something about Finn that resonates with me, stirring my optimism. “When I die,” Finn laments, “nobody’s gonna remember me,” and we engage in a conversation about our legacies and the definition of dreams in this seemingly insignificant community. Moved by his words, we decide to seize an opportunity that echoes the legend of Michigan’s Loch Ness Monster, stealing a harpoon and embarking on a journey to uncover the truth behind Finn’s story.

The last part of the local newspaper’s front page features their story – that of Blue Jay (Tenley Kellogg) and her elder sister Robin (Emily Hall), who manage the day-to-day operations at a rustic bed & breakfast. A touch of starstruckness overtakes them when a screenwriter from Hollywood decides to stay with them. As the grown-ups unwind, Blue Jay subtly flirts with Ethan Stoddard, the teenager accompanying the famous guest.

This segment carries a delicate, reminiscent feel, evoking thoughts of a loved one’s departure and the uncertainty of life without them. As Falconer goes about preparing muffins and omelets, there’s a balance between meticulous attention (like following recipes) and careless oversight (ignoring cracked eggs when buying). In simpler terms, it’s as if Falconer is both very precise in some actions but neglectful in others, like an experienced cook who might overlook slightly broken eggs.

In a subtle and endearing manner, “Sunfish” manages to conjure up the atmosphere of Green Lake and its Michigan roots. However, despite this charm, it seems to miss the tension typically found in features, leaving one anticipating a more dramatic narrative. Even ordinary struggles such as meeting rent payments and maintaining secrets amidst intrusive neighbors should be more engaging than the four tales Falconer has selected. “Sunfish” feels more like a relaxed getaway rather than an enticing tale to share again. Green Lake, undeniably, offers more captivating narrative possibilities for stories worth repeating.

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2025-02-05 05:49