Sunfish (& Other Stories on Green Lake) Review: A Directorial Debut that Embodies Bittersweet Longing

      Note: This review was initially published as part of our 2025 Sundance coverage. Sunfish (& Other Stories on Green Lake) will be released in theaters on September 12.

      Filmmaker Sierra Falconer’s Sunfish (& Other Stories on Green Lake) evokes a bittersweet sentiment. It captures the concurrent feelings of endings and beginnings. Over the course of eighty minutes, we witness four short narratives unfold in and around Green Lake. One story features a young girl (Maren Heary) who learns to sail after her neglectful mother leaves her at her grandparents’ lake house. Another revolves around a young boy (Jim Kaplan) at a prestigious summer camp across the lake, where he faces immense pressure from his mother to secure the first chair violin position in the camp orchestra. An extended scene of him practicing is particularly fraught with tension. The third narrative follows an overwhelmed young mother (Karsen Liotta) tempted by excitement through a charming, wandering bar patron (Dominic Bogart) and a chance to catch a rare fish. Finally, we have the touching story of two sisters (Tenley Kellogg and Emily Hall) managing a lakeside bed-and-breakfast, with the elder teaching the younger all the necessary tasks before she departs for college.

      This marks an impressive feature debut for Falconer. Each frame is imbued with a delicacy that exudes confidence. The supporting performances from Marceline Hugot and Adam LeFevre as the grandparents in the first story ("Sunbird") are particularly memorable, alongside a comically noteworthy performance from seasoned actor Wayne Duvall in the third story. Subtle moments throughout underscore larger themes. In one scene from the fourth narrative ("Resident Bird"), the older sister advises the younger: “Always buy organic for out-of-state guests.” In the third short ("Two-Hearted"), the young mother poignantly states, “This lake, it’s like a black hole.” Additionally, the aforementioned practice scene from "Summer Camp," the second narrative, plays out like a bittersweet excerpt from a recently discovered Raymond Carver short story.

      Cinematographer Marcus Patterson captures the lake as a hidden, special haven, greatly enhanced by Brian Steckler’s evocative score. The lives and locations we explore in these vignettes possess a distinct texture, all softly intertwined by the lake that connects them. Editor Chelsi Johnston deserves significant recognition, as smaller films like this often go unnoticed on a technical level. The narratives are seamlessly woven together, presenting an overall aesthetic and editing style that conveys the necessity of these four stories being told in tandem, without forcefully emphasizing their interconnectedness. Patterson also utilizes drone photography sparingly and effectively, avoiding the overdependence commonly seen in contemporary filmmaking.

      “Sunfish” and “Resident Bird” are the standout segments, and it’s a bonus that they open and close the film, respectively. That said, Liotta’s performance in “Two-Hearted” is one that will resonate for some time. Within moments, we gain insight into her character and empathize with her struggles. Although “Two-Hearted” does not quite match the impact of her lead role, it significantly deepens the lore surrounding the titular lake.

      When we express a desire for more films about authentic characters, Sunfish (& Other Stories on Green Lake) exemplifies what we mean.

      Sunfish (& Other Stories on Green Lake) had its premiere at the 2025 Sundance Film Festival.

      Grade: B+