Directed with a sense of tranquil serenity and grounded maturity one might be accustomed to finding in the work of a seasoned director, Allen Sunshine is, quite remarkably, the debut feature of 25-year-old Harley Chamandy. The Montreal-born, New York-based filmmaker received the 2024 Werner Herzog Film Prize for his feature following its Munich Film Festival premiere earlier this year. Having participated in Herzog’s workshop as a 17-year-old, Chamandy’s shared affinity with the legendary German director for the natural world is quite apparent. Shot on 16mm by Kenny Suleimanagich, who brings a painterly touch in capturing the woodland landscape, Allen Sunshine is an affecting, understated look at picking up a life destroyed, and finding a connection with the people that can help put the pieces back together.
Still finding his emotional footing after the sudden death of his wife Eloise, a world-renowned musician whose career he had a hand in launching, Allen (Vincent Leclerc) is settling into life at his lakeside cottage. Leaving behind his accomplished yet creatively unsatisfying career as a seasoned music producer, he now enjoys boating around the lake and soaking in the sounds of the forest with his recording equipment while playing with his sole roommate, his dog. As he collects sounds to make ambient pieces that are beautifully woven throughout the soundtrack, Allen may be looking for a sense of solace, but he’s still seeking a connection he can’t put into words. He wants nothing to do with his brother-in-law and his niece when they arrive, perhaps stirring up memories too scarring in his current state, but invites over his neighbor Bill (Joseph Whitebird) to bake, leading to a conversation about what it means to truly heal while grieving.
While character studies about processing intimate grief are a dime a dozen, Chamandy’s is set apart by the well-observed subtlety and tenderness with which he approaches each scene. The emerging director knows what’s left unsaid can often be more powerful. These are kindhearted characters trying their best to navigate the turbulence of Allen’s pain, best exemplified in a moving sequence that is seemingly his first foray back into romance. His friend Jocelyn (Catherine Souffront) tries her best to find a connection beyond the platonic, but memories of past affection prove too painful. Allen breaks down and, in an effort to change the mood, puts on music to dance, pulling them in closer, but eventually it becomes too much to bear. It’s a wonderfully articulated scene of the complex melding of emotions that come with wanting to move on while your mind and body can’t find the path forward. Getting the most screen time amongst the supporting cast are two local kids, Dustin (Miles Phoenix Foley) and Kevin (Liam Quiring-Nkindi), introduced as best friends simply enjoying the lake, drinking root beer, and looking at vintage Playboys. When they befriend Allen, it’s a playful connection that not only serves as a distraction, but also a potential future of fatherhood he now may never experience.
Throughout Allen Sunshine, I was reminded of Rory O’Connor’s remarks on the benevolence of Bas Devos’ Here, another recent film of one grace note after another, with a spiritual sense of rejuvenation and an invitation to the audience to cherish the natural wonders around you. At barely over 75 minutes, Harley Chamandy’s debut may be miniature in scale, but he’s created a full-bodied exploration of grief with a world of feeling.
Allen Sunshine is now available digitally.
The post Allen Sunshine Review: A Tranquil Debut Feature with a World of Feeling first appeared on The Film Stage.
