Acapulco’s picturesque beauty and grimy desperation converge in writer-director Michel Franco’s psychological thriller “Sundown.” Franco teams up again here with Tim Roth who plays Neil Bennett, an heir to a United Kingdom meatpacking fortune on vacation with his sister, Alice (Charlotte Gainsbourg), and family. The cinematographer Yves Cape delivers a steady stream of wide shots and abstract-leaning frames that constantly compel the viewer to prioritize the macro over the micro.
Franco chooses to depict Acapulco from the wealthy white foreigner’s point of view, in which the lives of brown locals — the villains and Neil’s beautiful lover Berenice (Iazua Larios) alike — go unexamined. Yet Franco manages to wag a not-too-subtle finger at viewers, reminding them to check their assumptions about Neil while at the same time keeping the raison d’être of that main character utterly hidden. The result: “Sundown” lands more like a one-note thought exercise than a fully fleshed out story.
Roth’s delivery isn’t the problem here; neither is the film’s slow-burn pacing nor its absence of score. Rather, the script feels thin and ill-conceived in a film that clings noticeably to the surface. Neil is nothing if not brief — the number of lines he has might add up to a paragraph in the entire film. We can barely get a good look at him; his first close-up doesn’t appear until nearly halfway through the film.
Ultimately what “Sundown” is most successful at revealing to us is the look of Acapulco itself. By the end, Cape has captured how the sun strikes this spot of Pacific Coast in a dozen different ways. If only the same amount of light had been shed on any of the characters. Without that, an Acapulco sunburn is likely to elicit more feeling than “Sundown” does.
Sundown
Rated R for graphic violence, sexual content. Running time: 1 hour 23 minutes. In theaters.
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