“Sun Don’t Shine” and “An Oversimplification of Her Beauty”

There’s a body in the trunk of the car; it’s that of Crystal’s husband, and Leo is driving to Tampa, where he knows someone—an ex-lover, a woman of a certain age—who he thinks will be able to help. Along the way, every turn conjures paranoia, from the friendly stranger who wants to lend a hand when their car stalls and the police cars with sirens blaring on the highway to the phone call that Crystal places at a roadside convenience store. Leo and Crystal share love and distrust, cozy dreams and blank horizons, and the sweatily oppressive glare of the Sunshine State steams up swampy menace, sticky lust, torpid thinking, and feral solitude. Seimetz’s direction, with its efficient, light-scarred impressionism and its use of isolated voices and hypnotic visions, unleashes furious power from her lead actors. Audley conveys a brutish love through violence in repose; Leo is the reluctant criminal,

Article source: http://www.newyorker.com/online/blogs/movies/2013/04/sun-dont-shine-and-an-oversimplification-of-her-beauty-lovers-on-the-move.html

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