Nina Conti’s Sunlight takes the “furry” phenomenon to a whole new level. Its central protagonist, in an attempt to split her traumatized personality, dons a monkey suit throughout the entirety of the film. A mostly-smooth, sometimes-uneasy blend of pitch-black drama and absurdist comedy, Sunlight may follow the age-old “road-trip movie” structure, but it fully commits to an offbeat, non-sequitur style/logic that will either compel or repel audiences.
Played by Conti, who directs and co-writes the film with her lead co-star Shenoah Allen (whose profile uncannily resembles Jason Sudeikis’s), the character of Jane certainly takes a little getting used to. She speaks in a gruff, accented voice. One can almost smell the odor of her hot, sweaty, well-worn mask and suit. She kidnaps the suicidal Roy (Allen) (“…and there was a monkey behind the wheel of a van”). Not to worry, though: he happens to be a kindred soul, running away from his own trauma(s).
“Since I’ve had it on, I haven’t made any bad decisions,” Jane states about her costume, clinging to the belief that she and the monkey are two separate entities. “Jane died last night, just like you.” Roy accepts her, on the brink of madness himself. Shenanigans ensue. They attempt to get to his mother before his suicide note does (why doesn’t he call her?). He confronts his suicidal tendencies by “dying” in her arms. There’s a fingering moment. They dig up his father’s decomposed corpse.
The monkey costume head sits alone on a lawn chair, symbolizing vulnerability and humor in Sunlight.
“…protagonist, in an attempt to split her traumatized personality, dons a monkey suit….”
The narrative teeters between tragedy and farce. The leads discuss things like drinking sunscreen while riding a banana, pissing into one’s own head, and the number of body holes they have. In the same breath, there are mentions of sexual assault, suicide, and familial trauma. The fact that Conti and Allen mostly pull it off speaks volumes to their talent and aforementioned commitment.
True to its name, almost every frame of the film is shot in dusty sunlight, the plot set against a dingy yet oddly beautiful part of America, all landscapes and dilapidated gas stations. The title may also refer to how the protagonists resemble each other, beams of light penetrating the murky depths of their depression. It’s also the name of the radio station Roy works for, plastered all over the RV they drive.
We all have moments when we want to run away from ourselves, and sometimes we try. We all hide behind carefully-constructed guises. The guises in Sunlight may be crude, but beneath them, raw emotions simmer. The viewer’s enjoyment of the film wholly depends on whether they go with the vibe or not… and whether they like simians.
"…the fact that Conti and Allen mostly pull it off speaks volumes to their talent and commitment..."
