Sun Choke

Directed by Ben Cresciman,Sun Choke begins by introducing the viewer into the life of Janie (Sarah Hagan). Janie is recovering from a violent psychotic breakdown. Each day, her lifelong nanny, Irma (Barbara Crampton), subjects Janie to a bizarre holistic health regime. Eventually, Irma, who is in contact with Janie's absent father, considers Janie well enough to leave the house. This first excursion onto the streets of LA results in Janie beginning an obsession with Savanna (Sara Malakul Lane). As this obsession progresses, deepens and Janie finally connects with Savanna, the mental calmness and control brought about by the strict, holistic regime is undone.

However, this is just the bare bones of a film that is arguably open to interpretation. For instance, although the time-frame of Sun Choke appears to be linear, I wonder if this is the case. The viewers are shown what appear to be flashbacks, or memories, but these are shown in a haphazard fashion, often with little or no sound. Muted shots of Janie's father illuminated by bright sunlight appear, as do darkly lit scenes of a distressed, apparently psychotic, Janie. Once she begins to leave the home, Janie's apparent inability to feel empathy for other human beings, and her resentment at the strict brutality of the regime she's subjected to, begin to surface. Yet, I personally feel that the route to unravelling the time-line and story of Sun Choke lie in two factors that were mentioned, but not dwelt upon, during the course of the film.

Firstly there is the absent father. The authoritative figure in Sun Choke is Irma and it is her regime which dominates and structures Janie's home environment. There is also the question of what the relationship was between Janie's mother and Irma the nanny, also how this influences the relationship between Irma and Janie. Then, when Janie's obsession with Savanna arises, so does the question of nature over nurture. But, this is just my thoughts on a film which is layered, and definitely more complex, than the bare narrative bones suggest.

Cinematically Sun Choke is a triumph on a big screen. The manner in which light is used throughout, results in some beautiful shots that linger in the mind. Editing is slick and efficient meaning that, despite the sudden flashbacks and apparent memory recalls, the flow of the film isn't disrupted. Somehow, the combination of lighting, beautifully staged sets and Irma's calm voice, seduces the viewer into accepting her role as carer, into accepting the simple, almost unstructured, story that is there for viewing with immediacy.

There was one scene where I felt the director should have held back, as what the viewer is exposed to serves to detract from the impact of the film's final section. I personally felt the scene could have ended slightly earlier, as the viewer knows what is about to happen. I wonder if here the director was trying to appeal to a bigger market than a psychological drama alone would engage. There is a manner of horror in Sun Choke, but it's insidious and deserves to remain so. From my point of view, the scene in question spoilt the ambiance of the film – it was out of kilter.

Sarah Hagan's performance as Janie is superb. She gives a very powerful depiction of a person totally unable to relate normally with other human beings. Even so, Janie isn't a character you can completely turn away from. I found I had some level of understanding for her frustration at being subjugated by the regime she was subjected to. Savanna is the perfect foil to measure Janie against. Sara Malakul Lane does well in this role. She underplays the character which serves to emphasise her normality. But by far the most chilling performance is that given by Barbara Crampton. Her interpretation of Irma is well judged and effective.

Sun Choke is arguably an Art House film. It is low budget, visually stunning to watch, and contains aspects of social realism. The lack of clarity in the narrative structure will be an issue for some, as there is no clear beginning, middle or end. The audience is presented with a form of cause and effect visualised as actions and consequences. Also, it is for the viewer to determine a pathway through the visual imagery Sun Choke presents, also to unravel the motives contained within the actions of its key players. A film of this nature will either engage you, or it will not. There is no room for middle ground here.

This movie was actually pretty incredible. It calls your attention using very little, leaving you to decide what's reality and what isn't. It's a successful movie - well and cryptically written, gorgeous and intimate cinematography, and a strange and daring story that is pretty hard to watch at times.

I definitely enjoyed what this movie brought, how it gives us enough to estimate who this protagonist is - I'm not going to give anything away, but really what this movie ends up being is an inside to someone's personal hell. It's sad, dark, and even terrifying. Really. It's terrifying, it's expressive, it's raw. Doesn't hold off - and nothing, to me in the least, feels contrived. It all happens for a reason, whether it's really happening or not. It has some really powerful images that stick with you after viewing, things that make you think and wonder.

I really recommend this film for indie lovers and for those who want to see something really dark and really psychological. The acting is great, and overall it's a beautiful and personal film about what this girl is going through and why. I ended up loving this film. See it for yourself. It's DEFINITELY not for everyone, with graphic nudity, violence, so on so forth, but it's all worth while. Great film that no one's heard of. Super intense, but has me thinking for a while after watching it - and planning another rewatch soon.

Sun Choke needs some time it is a slow burn . This film works as a character study of in large part because of how committed actress Sarah Hagan is to playing 'Janie's' derangement. It is never really made clear why 'Janie' is a troubled soul suffering from chronic mental disorder with abnormal violent social behavior. 'Sun Choke' has excellent acting from all characters. The film all things add up to the creation of one evocative, trippy film that is sure to run chills down your spine. 'Sun Choke' offers a unique experience that'll leave you surprised and intrigued. Make note of the 105:39 minute mark. The film really gets its (freak) on

Gratuitous sex scenes, gratuitous (female as per usual) nudity, close-up gory blood and violence. All those predictable clichés and for what? A story about a mental patient with a weird Auntie. No real twists or plot and plenty of things that don't add up or make sense and are never explained.

Sun Choke is an unusual but solid film. It's not especially original but especially with the strong performances of the two leads it's different enough in presentation that it's not a boring watch.

So why am I writing a review? To express my bewilderment that there are multiple comparisons in other reviews to the Greek film Dogtooth. I had to stretch my brain to near breaking to realize, "Oh yes, there is one tiny aspect of similarity, but even that utterly marginal plot point falls under another few seconds of scrutiny." Anyone comparing these two films: A, hasn't seen Dogtooth; B, hasn't seen Sun Choke; C, saw both but was too busy shopping on Amazon Prime to notice what was happening during either film.

For what it's worth, I'm one of the sad minority who thought Dogtooth was not a masterpiece. Interesting premises, boring results. Maybe I'm just not intellectual enough. Of the two films, Sun Choke is the more fleshed-out and for most viewers will likely be the more enjoyable. Watch Dogtooth if you want a bunch of random ideas that are never really built into any kind of thesis, which I'm sure is more enjoyable if you're not interested in the writer's or director's opinions on their own themes. It's an utter Rorschach test of a film. While far from typical, Sun Choke is much more traditional in terms of plot (of which Dogtooth has almost none) and character development (of which Dogtooth is completely devoid)