Kinds of Kindness. The French Dispatch. The Ballad of Buster Scruggs. Anthology films are having something of a moment right now. Whether the vignettes are connected thematically, by location, or both, it can be challenging — even for established auteurs — to do successfully without feeling like they’ve simply crammed a few half-baked shorts together. Luckily, writer-director Sierra Falconer mostly avoids this in her debut feature, Sunfish (& Other Stories on Green Lake). I’ll admit that I’m not the biggest fan of anthology films, as I think they’re quite difficult to pull off in a way that makes each section feel satisfying and necessary. I often find myself drawn to one particular vignette and wishing it took up the entire feature or feeling that the short runtimes keep all of the sections from feeling as fleshed out and effective as possible.
While I do find two stories in Sunfish (& Other Stories on Green Lake) stronger than the others and believe the ones that aren’t as engaging did suffer from a lack of time to delve into details that would have enhanced it, it does make better use of the storytelling style than many films like it. Each segment feels contained and packed with enough detail to justify its inclusion, and the way they’re all threaded together is seamless. (Though I do think a few more tangible connection points and callbacks could’ve made the experience even more rewarding.)
What is ‘Sunfish (& Other Stories on Green Lake)’ About?

Sunfish (& Other Stories on Green Lake) is made up of four loosely interconnected stories that all take place in the same lake town. The first sees a 14-year-old girl named Lu (Maren Heary) spend a few weeks with her grandparents (Marceline Hugot and Adam LeFevre), where she finds a passion for sailing. The second focuses on a violinist named Jun (Jim Kaplan), who attempts to earn first chair in his music summer camp program at the urging of his overbearing mother.
The third switches gears and genres a bit by focusing on a young, hardworking single mother named Annie (Karsen Liotta) and a bar patron named Chip (Wayne Duvall) finding themselves on the run from the law as they attempt to catch a fish. Lastly, we have sisters Blue (Tenley Kellogg) and Robin (Emily Hall), who spend the last few days together working at their boarding house before Robin goes off to culinary school in another state.
‘Sunfish (& Other Stories on Green Lake)’ Is Visually Stunning and Thematically Subtle

Image via Sundance

While Sunfish (& Other Stories on Green Lake) is, of course, connected by its setting, there are less obvious themes woven through the stories as well. All of the vignettes are coming-of-age tales in their own ways — ones that deal with the inherent disappointments and unexpected, sometimes bittersweet joys that growing and changing brings. They each explore isolation, often showcased by wide shots where we see our characters at a distance. Too far away to hear what the characters are saying or see their expressions, it feels like we’re intruding on a private moment, which makes these beats feel more vulnerable and intimate.
While it would almost be difficult to shoot on this lake and not come out with a beautiful product considering how naturally breathtaking it is, both Falconer and cinematographer Marcus Patterson deserve credit for just how gorgeous their film looks. Not only that, but they succeed in making Green Lake truly feel like a character in and of itself. It’s a setting that’s both aspirational and gritty, full of possibilities and personality. But it’s also a mirror — an oasis that can either breed creativity or stifle it, a place that can mean freedom or suffocation.
‘Sunfish (& Other Stories on Green Lake)’s Stories Are Authentic But Uneven

Image by Jovelle Tamayo via Sundance Institute

Sunfish (& Other Stories on Green Lake) is bookended by its two strongest narratives: “Sunfish” and “Resident Bird.” A focus on familial relationships can be hard to come by in coming-of-age narratives, so centering a connection between grandparents and siblings is refreshing — especially the way Falconer does it. I was reminded of my own grandparents in the teasing banter between them, established after decades of being together. The grandfather’s no-nonsense but tender way of teaching Lu to sail and her grandmother’s insistence that she eat more could easily fall into cliche territory. However, Falconer and her performers infuse it with enough details and texture to transcend into something that feels both authentic and new. As someone who also has a younger sister, the dynamic between Blue and Robin broke me. I’d argue that Kellogg gives the strongest performance of the entire film, as the way she masks her hurt with anger before finally succumbing to the sadness of her older sister leaving is heartwrenching and taps into something extremely raw.

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While “Summer Camp” feels like a slightly weaker, more incomplete entry, Kaplan’s performance is stunning, as he doesn’t have many lines and manages to shine with his expressions alone. Falconer should be commended for touching on a more invisible but prevalent form of self-harm in his section as well. Jun’s way of dealing with stress and pressure isn’t something I’ve seen depicted a lot on film before but is something that’s important and all too relatable for many.
“Two-Hearted” takes something of a creative risk that, unfortunately, doesn’t quite pay off. While the acting is solid here, too, the confrontation between Annie and a shop owner is a bit out of place and over-the-top compared to the rest of the film, and the consequences don’t feel like they fit with the film’s tone. There’s something intriguing about Annie — and her relationship with Chip — but their backstories feel vaguer than the rest, resulting in a more generic feel.
Much like the setting it depicts, Sunfish (& Other Stories on Green Lake) is a quiet little gem with much more to it for people willing to take the time to look beneath the surface. A highly promising debut for Falconer, the writer-director shows capability and distinct style that, at various times, feels reminiscent of Charlotte Wells’ Aftersun and Greta Gerwig’s Lady Bird. Not only does she clearly know how to make the most of the camera and visuals at her disposal, but she also shows a talent for working with young performers and drawing out deep, exciting performances across the board.
Sunfish (& Other Stories on Green Lake) premiered at this year’s Sundance Film Festival.

Sunfish (& Other Stories on Green Lake)

A strong debut from writer-director Sierra Falconer, Sunfish (& Other Stories on Green Lake) shines brightest when it comes to its setting and performances.

Release Date

January 26, 2025

Runtime

87 Minutes

Director

Sierra Falconer

Writers

Sierra Falconer

Producers

Joanna Hogg

Pros & Cons

The acting ? particularly from the young talent ? is incredible, with Kellogg and Kaplan emerging as standouts.
Falconer and cinematographer Marcus Patterson capture the lake?s breathtaking beauty and truly make it feel like a character.
?Sunfish? and ?Resident Bird? are excellent coming-of-age tales, focusing on lesser-explored relationships and feeling authentic.

?Summer Camp? and ?Two-Hearted? suffer from the anthology format, as it feels like there?s more to each story than what we get to see.
Tying the characters in each segment together more tangibly could make the film feel more cohesive and satisfying.

Release Date

January 26, 2025

Runtime

87 Minutes

Director

Sierra Falconer