AUSTIN, Texas — “The Sun Never Sets” is filmmaker Joe Swanberg’s 10th indie to premiere at SXSW but his first to play the event since 2017. The astonishing pace with which he made his early work — loose, idiosyncratic stories that were progenitors of the emergent style known as mumblecore — has slowed significantly, but also given way to a newfound maturity as both a person and an artist.
Introducing “The Sun Never Sets” at its world premiere on Friday night to a sold-out crowd at the Zach Theater, Swanberg called his latest “my favorite film I’ve ever made.” Shot on 35mm in Anchorage, Alaska, the movie follows a 30-ish woman, Wendy (Dakota Fanning in a vibrant turn), torn between pursuing a fresh romance with a reckless old flame (Cory Michael Smith) or continuing on with the settled-in-his-ways divorced father of two (Jake Johnson) she’s been seeing for a few years.
“I guess this is what they tell you about getting older and doing this job longer,” said a thoughtful Swanberg in a video interview from his home in Chicago shortly before the festival. “You get better at it and you sort of mature and all of this.”
The film marks Swanberg’s fourth collaboration with Johnson, a partnership that goes back to 2013’s “Drinking Buddies.” (The actor partly financed the new project along with his brother.) Following completion of the third season of the Netflix anthology series “Easy” in 2019, for which he wrote and directed all the episodes, Swanberg was planning to take a break. A divorce and the pandemic caused that pause to grow even longer.
In the intervening years Swanberg produced a number of projects for other filmmakers, did some acting and opened a small video store in Chicago. Swanberg knew Anchorage-based producer Ashleigh Snead, who encouraged him to consider shooting something there. The scenic location would give Swanberg the opportunity to expand his visual style from his usual couches, bars and apartments of much of his work. (There still are a surprising number of scenes on couches and in bars.)
“Joe’s a real filmmaker,” says Johnson in a separate interview. “And I think sometimes he doesn’t get that credit because he can make movies with nothing. This is a real adult movie. This is a film about how complicated breakups are and how messy they get. And it’s in beautiful Alaska.”
Swanberg has now gone from someone making talky, provocative and at times controversial films about the lives of post-collegiate 20-somethings to exploring the nuances and specifics of being a 44-year-old divorced father of two still trying to figure out his place in the world. His original cohort of SXSW-affiliated filmmakers, many of whom also fell under the rubric of mumblecore — nobody much liked the name, but no one ever came up with anything better, so it stuck — included Greta Gerwig, Lena Dunham, Barry Jenkins, Ti West and others who have gone on to more conventional mainstream success.
But Swanberg doesn’t seem to feel left behind. Rather, he only sees doors opening.
“It’s gone so much better than I thought it was going to go for me,” he says. “I mean, when I was making these really tiny, sexually explicit 71-minute movies, I was like, I’m just grateful to be here. I can’t even believe these festivals are showing this work and it’s so cool that there’s a space for me in this ecosystem.
“And so to watch my friends go off to do these giant movies, to see Greta doing ‘Barbie’ and stuff like that, to me it just opens up the possibilities,” he adds. “Each time a friend of mine sets some new record or moves into some new space, I’m kind of like: Oh, that just opened up for all of us now.”
His earlier work often featured raw sex scenes, sometimes featuring Swanberg himself. From practically the start of his career, well predating the #MeToo-era reckoning that began in 2017, Swanberg weathered accusations that he was exploitative and manipulative of his female performers. His stepback from productivity coincided with a moment when his explorations of sexual power dynamics fell out of favor. It would be easy to interpret that Swanberg preemptively soft-canceled himself to avoid a broader scandal. He doesn’t see it that way.
“Certainly in Chicago, where I’ve spent the last five years, I’m not unwelcome places,” he says, drawing a distinction between himself and “people who lose jobs or are capital-C canceled. But also my work has always pushed those boundaries and always attracted some amount of positive and negative attention.”
Though “The Sun Never Sets” has numerous kissing scenes, it doesn’t go too much further than that.
“I won’t do it,” Johnson says of more graphic scenes. “When I worked with Joe early on, I was like, ‘I love you, man — I’m not doing this.’”
For her part, Fanning had no reservations about working with Swanberg. He offered both Fanning and Smith the opportunity to work with an intimacy coordinator, but neither felt it was necessary.
“There was no planet where you’d ever be asked to do anything you were uncomfortable with,” Fanning says. “If there was ever a moment like, ‘I don’t want to do that,’ he’d be like, ‘Oh, then let’s not.’ There was a day where there was a scene and it was pouring rain outside. And we both looked at each other and he was like, ‘We’re not going to do it. The scene’s cut.’ He’s just open. And I just trusted him implicitly.”
Swanberg has long worked in an unusual style in which the script is essentially a detailed outline and the actors work to come up with their own dialogue during rehearsals. For “The Sun Never Sets,” Swanberg and Johnson developed the longest, most complete outline Swanberg has ever used, including some dialogue exchanges. Then the actors were allowed to make it their own.
Fanning recalled an early zoom call with Swanberg and Johnson on which they explained the process.
“It’s still made like a real film,” Fanning says. “And Jake and Joe promised it’s not like we’re just flying by the seat of our pants: ‘You will know what to say, I promise.’ And then friends that know me asked, ‘Are you so nervous?’ And I was, but for some reason, I don’t know why, I just knew that it was going to be fine. And that just proved to be true.”
Even though it takes places in Anchorage, Swanberg calls “The Sun Never Sets” “extremely personal.”
“I was definitely writing a movie about a divorced mid-40s guy dating a younger person,” he says. “The questions of marriage and having children were sort of an amalgam of two real relationships that I merged into one onscreen.” He describes the material as “questions that I had and have about what my own relationships are going to look like post-divorce.”
That comes through in Fanning’s rich, layered performance, which might rank among the best of her already lengthy career. Swanberg’s style draws both an ease and an intensity from Fanning, who captures a woman at a pivotal moment of figuring out what she wants amid the emotional whirlwind she is going through. (At the film’s premiere, Fanning said, “I’ve never put so much of myself into a role before.”)
“I think the goal of Joe’s films, and I think at least my goal with this film, is trying to make everything feel real,” she says. “Things are just a mess some of the time.”
Swanberg himself appears in a small role as the new husband of the ex-wife of Johnson’s character. And the characters of the two kids in the movie are named after the director’s own children. With a newfound maturity and emotional depth, Swanberg is continuing to make movies that are part diary, part generational markers.
“It’d be really cool in my 40s to make movies about characters in their 40s,” he says, “and in my 50s, 60s and 70s. It’d be neat to be making sexually explicit movies about 70-year-olds in their dating lives and sex lives and stuff. It’s really exciting to have movies about characters at this phase of their life, whether they’re finally settling down in their 40s or whether they’re getting out of relationships and reexamining their life. It’s where my head is at.” .
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