Dakota Fanning Shines in the Tepid ‘The Sun Never Sets’

Dakota Fanning’s acting career began at the tender age of five, and since her silver screen debut in “I Am Sam” in 2001, she has worked steadily and skillfully in film and TV . Even so, some might say that her ample and solid credits have been eclipsed by her younger sister’s. Elle Fanning’s work includes acclaimed shows such as “The Great” and in movies directed by the likes of James Mangold and Sofia Coppola, to say nothing of her Oscar nomination last year for her supporting role in “Sentimental Value.” There appears to be no “Baby Jane” rivalry between them, though, as Dakota is the executive producer of Elle’s hit series “Margo’s Got Money Problems,” and together the two will star in the movie version of Kristin Hannah’s bestseller “The Nightingale” next year. The new indie feature “The Sun Never Sets” provides an excellent opportunity to enjoy Dakota’s particular gifts. Centered on a 31-year-old woman caught between two men, the film harnesses the actress’s natural intelligence, skeptical mien, and subdued intensity to explore a quarter-life crisis and hint at female agency. Indeed, the actress is so adept and sympathetic that one wishes the role she plays went deeper and that the film around her were better. While not a bad movie per se, it’s also an unremarkable one, in line with director Joe Swanberg’s general oeuvre. As one of the founders of the mumblecore movement in the mid-aughts, Mr. Swanberg typically crafts his films from small budgets, unscripted scenarios, relaxed acting, murmured dialogue, and intimate themes. Since 2012’s “Drinking Buddies,” though, his pictures have leveled up in terms of range, polish, and audio mix while retaining some mumblecore tenets. In many ways, “The Sun Never Sets” revisits the more modest concepts of the director’s first films, with their lo-fi quality happily in the past. Through its focus on muddled relationships, it returns Mr. Swanberg to his sweet spot and one is sometimes entertained by its relatable quandaries. Still, the edginess of the earlier features is missed as the helmer now seems to be aiming for “Hallmark movie” rom-com blandness instead of ironically literal and figurative navel-gazing. Ms. Fanning plays Wendy, a construction equipment operator living in Anchorage. Comfortable in her two-year relationship with Jack, an affluent 50-year-old-ish divorcé with two kids, she seems to want for nothing except for him to wish to marry again, for them to have their own children, and for him to be as outdoorsy as she is. Her denial that these things matter, that she’s okay with his relational conditions, is what forms the crux of the narrative for early on Jack proposes they stop seeing each other for a few months in order that she pursue other partners and paths. He fears the regrets she might formulate down the road should they continue their coupledom as is, and in his paternalistic, if loving tone, one senses their May-December bond. Initially upset and reluctant to go along with his idea, Wendy begins to warm to it when she reconnects with Chuck, an old boyfriend of her own age who’s back in town. Almost immediately, Chuck starts to stay at her place and accompany her on hikes in the mountainous terrain around Anchorage (he is a small aircraft pilot). He professes to have changed since they last saw each other and tells her how he now believes in marriage, having kids, and settling down. Predictably, this situation creates friction with Jack, even though it was his idea for Wendy to “take space” to ensure she was committed to their relationship. Naturally this leads to scenes in which Jack attempts to appear younger and hipper, and eventually to his trying to make her jealous by seeing another woman. Affable actor Jake Johnson portrays the older beau efficiently, never emphasizing Jack’s semi-controlling, quasi-gaslighting ways in spite of the character’s consistent use of the word “crazy” to describe Wendy and her actions. Mr. Johnson’s background in television, particularly his seven seasons on the sitcom “New Girl,” may be what affords him the ability to play someone who’s not only manipulative and somewhat scornful but earnest, pathetic, and silly as well. He and Ms. Fanning share an easy rapport with each other, especially in scenes in which they converse or argue, so one overlooks the lack of real chemistry. The actress also doesn’t have much chemistry with Cory Michael Smith, who plays Chuck, even though the two look good together. Moreover, Mr. Smith’s role is underdeveloped, basically just a pretty boy in layered clothing.Perhaps Ms. Fanning’s lack of chemistry with both actors links up with what the movie is subtly saying — that people often settle for what’s comfortable and familiar, over the more erotic and adventurous. Indeed, the connection Jack forms with Sara (Karley Sciortino, who co-wrote the recent film “I Want Your Sex”) is charged with such a sexual spark that one idealistically wishes for the two to end up together. Spur-of-the-moment physicality, though, is exactly what Wendy and Jack don’t have, and irrational emotions between lovers are what they’re wary of. Ironically, their separation causes those very same emotions, fomenting jealousy, insecurities, and heated interactions while leading them to question each other’s devotion.Despite the setting’s potential to mirror Wendy’s wild side and predicament, Mr. Swanberg barely uses the landscape and its peculiarities, such as the 19-20 hours of summer sunlight referenced in the film’s title. This visual flatness coincides with the absence of any real exploration of Wendy’s feelings and goals in life, though Ms. Fanning’s shaded portrayal alludes to dissatisfaction and frustration. Overall, Mr. Swanberg’s sensitivity towards his female characters, which include Jack’s ex-wife, cannot conceal how they’re always responding to the words and actions of the male characters. For Wendy specifically, tropes of feminine indecision such as vagueness and ambivalence take the place of proper character development. Even if the end introduces a twist, it’s still of a piece with the story’s schematic cutesiness. Surely Ms. Fanning deserves better than a glorified TV movie.

Dakota Fanning Shines in the Tepid ‘The Sun Never Sets’

Dakota Fanning Shines in the Tepid ‘The Sun Never Sets’

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