Entertainment
Maturing but still messy, a mumblecore kid returns to South by Southwest a veteran
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, 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.
Dakota Fanning in Joe Swanberg’s “The Sun Never Sets,” filmed in Alaska.
(SXSW)
“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 South by Southwest 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, center, on the set of “The Sun Never Sets.”
(SXSW)
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.”
Jake Johnson and Dakota Fanning in the movie “The Sun Never Sets.”
(SXSW)
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.”
Dakota Fanning and Cory Michael Smith in “The Sun Never Sets.”
(SXSW)
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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Entertainment
What it’s like to DJ at Coachella: Backstage access, celebrities and lines nobody can avoid
Since I started DJing nearly a decade ago, it’s been a dream of mine to DJ at a music festival, a place where music lovers of all walks of life converge. So when I got the opportunity to spin at Coachella, the country’s festival of all festivals, I was over the moon.
This was my second time playing at Coachella with Party in My Living Room, a house party concert series founded by Inglewood native Yannick “Thurz” Koffi in 2015. The activation, designed to look like an actual living room with couches and artwork, was a collaboration with GV Black, a group promoting “Black, Indigenous, and People of Color (BIPOC) to be seen at the festival.” For the last four years, Koffi has been inviting DJs and musicians (Ty Dolla Sign, P-Lo, Kamaiyah and Isaiah Rashad, to name a few) to perform at the pop-up, which has quickly become a popular side quest for festivalgoers. So when Koffi asked me to be a part of the stacked lineup during Weekend 1, I was honored.
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After preparing my set for weeks, the moment had finally come for me to spin on Sunday afternoon. I soaked up the entire weekend experience — from the celebrity-packed artist compound to the exclusive pop-ups (Redbull Mirage and the Soho House hideout) and the free dining. Here’s a peak behind the curtain from an artist’s perspective and what I learned about DJing at the festival.
Kailyn Hype played house, hip-hop, jersey club, baile funk and other genres during her high-energy DJ set at Coachella.
(Kayla Bartkowski / Los Angeles Times)
1. Spinning at a daytime desert festival is much different than at a bar
I was in charge of kicking off the activation on the final day of Coachella Weekend 1, which is an underrated job because it means that you get to set the tone for the day.
If I were spinning at a bar, club or flea market, I’d likely ease into my set with more chill songs before getting into bangers. But this was a festival and the crowd was ready to party, so I didn’t waste any of my 45-minute set. (My set was initially scheduled for one hour, but it was cut due to a sound check delay.) However, I left the big hip-hop tracks for the other DJs to play, which is a common DJ courtesy.
With songs like “Tonight” by Pink Pantheress, “Am I Wrong” by Anderson.Paak, “Brighter Days” by Cajmere, “Nissan Altima” by Doechii and several high-energy remixes that I found on Bandcamp, my set was everything I’d hoped for: fun, joyful and liberating. The crowd and I jumped up and down, threw up our hands, sang and danced together. And even if they didn’t know the words to a particular track, they were still open to all of it, which is one of the best feelings you can get as a DJ.
2. The artist wristband was my golden ticket — to a glorious buffet
With so many delicious food vendors like Villa’s Tacos, Prince Street Pizza, Happy Ice and El Moro, I knew that I was going to be eating good at Coachella. What I didn’t expect is for there to be free catering for folks with artist wristbands, like myself. After making my way through the artist compound, past the golf carts that transported performers and celebrities (I spotted Teyana Taylor and Damson Idris) and along a plant-filled pathway, I made it to the elaborate dining area. Inside the room, which was draped with colorful curtains with guitars attached to them, I felt like a kid at a buffet. There were poke bowls, a sandwich station, pizza, steak, ice cream sundae and even a “wrap station,” so you could take your food to go.
“Since I started DJing nearly a decade ago, it’s been a dream of mine to DJ at a music festival,” says Kailyn Brown.
(Kayla Bartkowski / Los Angeles Times)
3. But even if you have an artist wristband, long lines are inescapable
At any major event, be it a music festival or sports game, lines are to be expected. But I’d be lying if I didn’t admit that I expected the bathroom lines in the artist compound — an exclusive backstage area for artists and their crews — to be shorter. I quickly realized that the lines were unavoidable and if I really needed to go, it was usually faster to go to the porta-potties in the general admission or VIP areas.
4. I found respite at exclusive lounges
After running around the festival for hours, it was nice to be able to take a break from the heat in stylish, exclusive areas like the Red Bull Mirage and Soho House’s hideout.
Red Bull invited me to check out their three-story social hub and hospitality destination at Coachella, which included a Nobu omakase dinner on the top floor. Overlooking the Quasar stage, it offered the perfect spot to sip on the energy drink company’s signature cocktails (the Paloma was my favorite) and watch energetic DJ sets from artists like David Guetta, Fatboy Slim and Pawsa. It’s also where “Love Island USA” Season 7 favorite Olandria was serving Red bull mocktails — and looks — from behind the bar.
While Red Bull Mirage provided day club vibes, the energy at the Soho House hideout was a bit more laid-back. Located inside a luxurious air-conditioned tent near the main Coachella stage, invited guests and Soho House members with VIP passes could order from the bespoke bar, grab a bite (e.g., burgers, fries and maki rolls) and enjoy music from a live DJ.
Founded by Inglewood native Yannick “Thurz” Koffi in 2015, Party in My Living Room is a house party concert series.
(Kayla Bartkowski / Los Angeles Times)
With an artist pass in tow, Kailyn Brown explored the artist lounge, dining hall and other exclusive areas at the music festival.
(Kayla Bartkowski / Los Angeles Times)
5. Music festivals can be a lot, but there’s a reason we keep coming back
After I was finished with my set, several people came up to thank me including one man, a Mexico-based artist named Memo Wright, who drew a live sketch of me spinning, which made my day. Even some of my Times colleagues took a break from reporting to stop by and say hello.
As I drove back home from the desert the following morning, I reflected on why I love music festivals so much and have been attending them since I was 16. Though events like Coachella get a bad rap for being expensive, crowded and uncomfortable (yes, it’s hot and dusty), this experience reminded me why people keep coming back — for the love of music and being able to commune with others who are just as obsessed with it as you are.
Vague Visages’ Undertone review contains minor spoilers. Ian Tuason’s 2025 movie features Nina Kiri, Adam DiMarco and Michèle Duquet. Check out the VV home page for more film criticism, movie reviews and film essays.
Sound design is paramount in horror. Without it, things that go bump in the night simply won’t. Creative sound design can make a great movie truly legendary. Consider Blair Witch (2016), whose unique and expertly constructed soundscapes took it from a throwaway requel to a nightmare-inducing must-watch. Undertone, the feature debut from Canadian writer-director Ian Tuason, is being marketed as “the scariest movie you’ll ever hear,” which is a gamble considering genre cinema is built on terrifying imagery. Although that pull-quote might put off snooty hardcore fans, it genuinely might be true.
Undertone’s action is confined to a single location — the dated childhood home in which Evy (Nina Kiri, phenomenal) watches her elderly mother (Michèle Duquet as Mama) slowly fade away in real time. While trying to keep the dying woman alive, the protagonist records a creepypasta-themed podcast with Justin (Adam DiMarco), who lives across the pond in London. Because of the time difference, the duo typically records at 3 a.m. aka “the witching hour.” Given their subject matter, it’s unsurprising that Justin, whom Evy snarks is a “Santa Claus believer,” frequently gets creeped out. His co-host, a proud skeptic, is much harder to shake.
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As a result, Undertone never feels hokey or derivative. By focusing almost entirely on Evy, Tuason takes a massive risk. Indeed, for most of the movie, she’s the only character onscreen, with Mama, as she’s billed, unresponsive upstairs in bed. The first-time filmmaker consistently draws eyes to the dark, empty spaces behind Evy — particularly an empty doorway that feels like it’s encroaching upon her — as she records with Justin, the camera creeping around corners or simply hanging around back there, as though somebody is always watching. And yet, nothing happens when one expects it to, which only adds to the unnerving atmosphere and increasingly excruciating tension. Shots are frequently tilted at bizarre angles, which adds to the impression that everything is slightly off kilter.
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Tuason infuses Undertone with Catholic guilt, right down to a bottle of Irish whiskey that Evy — a possible alcoholic — pulls out of a liquor cabinet in a moment of desperation. The filmmaker’s suffocating feature debut adeptly tackles thorny themes of postpartum depression and guilt, and all while stoking a constricting feeling of loneliness for the protagonist. The atmosphere starts off chilly, and by Undertone’s closing moments, it’s downright ice-cold. The movie cleverly emulates the effect of wearing noise-cancelling headphones each time Evy puts hers on, which forces the audience to focus solely on what she hears. The soundscapes are truly exceptional: layered, considered and beautifully composed to capture every little crackle and hum, while repetitive recordings — seemingly full of hidden meanings — similarly encourage viewers to pay closer attention, which makes Undertone’s darkest moments hit even harder.
Undertone Review: Related — Review: Drew Hancock’s ‘Companion’ Undertone Review: Related — Review: Pascal Plante’s ‘Red Rooms’
The great tragedy of Undertone is that poor Evy unwittingly invites something even worse into her mother’s home, which already feels haunted thanks to the almost-dead woman upstairs, as well as the wealth of troubled childhood memories seeping out of its walls. There’s a wonderful piquancy to the movie — Tuason takes his time ratcheting up the tension, but Undertone doesn’t let up once it gets going. Moments of respite are few and far between, with Evy’s growing isolation becoming increasingly obvious to the audience, if not to her. It’s tough to capture the idea of feeling unsafe in your own home, but Undertone manages to achieve this without any obvious jump scares or visual shocks. It’s all about sound, including during the movie’s stomach-churning final moments, which play out against a black screen, further solidifying the power of sound.
Undertone Review: Related — Review: Kurtis David Harder’s ‘Influencers’ Undertone released digitally on April 14, 2026.
Joey Keogh (@JoeyLDG) is a writer from Dublin, Ireland with an unhealthy appetite for horror movies and Judge Judy. In stark contrast with every other Irish person ever, she’s straight edge. Hello to Jason Isaacs. Thank you for reading film criticism, movie reviews and film reviews at Vague Visages.
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Categories: 2020s, 2026 Film Reviews, 2026 Horror Reviews, Featured, Film, Folk Horror, Horror, Movies, Psychological Horror, Science Fiction, Supernatural Horror, Thriller
That all changes when Justin receives a mysterious email containing 10 audio clips of an expectant young couple going through some kind of demonic possession. Evy instantly dismisses it as a hoax, even as spooky things also start happening to her. But, as they listen to each one, it gradually becomes impossible to deny that something very strange is going on. Fortunately, the experience of listening to these 10 little snippets of a life being shared by two people who, like Justin, never appear onscreen, isn’t a slog. Demonic possession is a total cliché at this point, but Tuason puts a nasty twist on it by focusing on a particularly horrible ghoul who targets pregnant people and new mothers, with the intention of killing them and their babies (trigger warning for any parents planning to watch).
Likewise, Graham Beasley’s evocative cinematography utilizes a moody color palette comprised predominantly of greys and navy blues. Evy leaves the house just once, and the camera doesn’t go with her, so it’s hard to identify the season, but Undertone certainly feels like a wintry film. It helps that Mama’s house isn’t the most welcoming environment, as religious iconography fills every available spot, including a cross hanging on the dying character’s bedroom door and a variety of different statues that loom ominously behind the podcaster as she records. Evy repeatedly listens to an old voicemail from her mother, in which Mama intones “I’m praying for you.” At first, it seems like a sweet sentiment, but as the story progresses, the idea curdles into something closer to a threat.
Undertone is a slow burn, and there will be those who complain that nothing happens, but the scares are interlaced throughout the narrative, increasing in frequency and intensity as it goes on. Unlike Skinamarink (2022), which has little to offer hardcore horror fans, Tuason’s movie builds the tension deliberately, with an acute attention to detail that pays off the closer one looks and listens. The resonant sound design echoes Kiri’s skilled performance in the lead role, as she acts predominantly by herself, often wordlessly communicating Evy’s disbelief, fear and confusion as the character grapples with her horrifying predicament alongside handling her mother’s rapidly deteriorating condition (and a surprise pregnancy to boot). Tuason keeps the camera tight on her face, emphasizing the presumed safety of Evy’s headphones as she disappears into the world of the titular podcast, which usually gives the struggling young woman a break from her normal life.
Podcasters typically don’t fare well in horror movies, with the most infamous example being those hideous Brits in Halloween (2018) who get exactly what they deserve. However, Evy is an empathetic yet flawed character — kind of a mess doing her best. It’s notable that being a skeptic doesn’t necessarily protect her from evil forces, but Tuason also doesn’t punish his protagonist for refusing to believe. Instead, he leaves it up to the audience to decide whether Evy, and to a lesser extent Justin, is being targeted or just unlucky. Tuason’s feature directorial debut proves once and for all that less really is more when it comes to crafting scares that resonate far beyond the frame (listening to a podcast immediately after a watch is a disconcerting experience). Undertone is inspired, unnerving and truly a future classic.
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Entertainment
Kanye West sued for battery, emotional distress over ‘cowardly’ altercation at Chateau Marmont
Ye, the controversial rapper formerly known as Kanye West, faces more legal backlash amid his latest efforts to mount a comeback.
The Grammy-winning “Bully” and “All of the Lights” musician, 48, has been accused of battery and intentional inflection of distress in a lawsuit submitted Monday in Los Angeles County Superior Court. An alleged altercation in April 2024 involving Ye and a man — identified in court documents as John Doe — is at the core of the complaint. The civil suit, reviewed by The Times, accuses Ye of punching Doe in the face and repeatedly punching him while he was unconscious, leading Doe to suffer “serious” physical injuries, incur medical expenses and experience a blow to his professional reputation.
Doe seeks a jury trial and is suing for an unspecified amount in damages including loss of earnings.
A representative for Ye did not immediately respond to a request for comment on Tuesday.
The complaint resurfaces allegations that Ye punched a man in the late evening of April 16, 2024, in West Hollywood. At the time, TMZ reported the “Vultures” musician got physical after the unnamed man allegedly grabbed his wife, Bianca Censori, at Chateau Marmont. A spokesperson for the Los Angeles Police Department confirmed that officers had responded to the 8200 block of Sunset Boulevard at around 12:30 a.m. for a “battery investigation” but did not confirm the suspect’s identity. A representative for Ye at the time denied the rapper was a suspect in the battery case and claimed in an email that “police aren’t even investigating.”
The complaint describes the unidentified plaintiff as someone whose business relies on “personal reputation, professional relationships, and public perceptions.” Ye’s accuser is also willing to disclose his identity, the filing said, under “an appropriate protective order,” though numerous outlets reported on the victim’s suspected identity around the original incident two years ago.
According to the suit, the altercation began when Ye approached the plaintiff’s table and punched him in the face, knocking the accuser “to the ground where he hit his head and lost consciousness.” Ye allegedly proceeded to “repeatedly” punch the man as he lay on the ground, the complaint says. The plaintiff said he did nothing to provoke the rapper’s “cowardly” attack, adding that the musician “acted with malice and oppression.”
The lawsuit alleges Ye fled the scene to the protection of his security detail, leaving his accuser injured on the floor. After the incident, Ye also allegedly “falsely” accused the plaintiff of inappropriate behavior toward a woman in his party. Ye then allegedly “embellished” his claims against the plaintiff during his appearance on a “widely viewed” podcast, though the lawsuit does not explicitly name the program.
“These false statements were republished and circulated widely across social media platforms,” the lawsuit says, “exposing Plaintiff to public scorn, suspicion, and ridicule.”
In a footnote, the plaintiff clarified that his brother was also present at the time of the incident and that neither of them engaged in inappropriate conduct toward the unidentified woman. The lawsuit also mentioned the existence of video from the scene of the alleged attack.
The lawsuit said the plaintiff has suffered “severe emotional distress, including anxiety, humiliation, loss of standing in his community and harm to his professional relationships” as a result of his squabble with Ye.
The latest allegations against Ye come less than two weeks after he delivered his first full live performance in Los Angeles since 2021 at Inglewood’s SoFi Stadium on April 3. Notably, Ye fell out of public favor in recent years for a number antisemitic controversies including threatening violence to Jewish people on social media and selling T-shirts emblazoned with swastikas. He issued an apology for the scandals in January, taking out a full-page ad in the Wall Street Journal that attributed his behavior to his bipolar disorder.
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