February18 , 2026

    Jesse Eisenberg and Riley Keough’s (Surprisingly Moving?) ‘Sasquatch Sunset’ Weirds Out Sundance

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    • “Less than 15 minutes into the film, one moviegoer announced, to nobody in particular, “This is the weirdest movie ever.”” There were walkouts but those who stayed mostly loved it.

    • The actors had to act in heavy, detailed Bigfoot costumes and had to take classes from a mime to emote.

    • The documentary-style film from the Zellner Brothers, which has zero dialogue or narration but plenty of grunts, captures an immersive, “true” depiction of the daily life of the Sasquatch. That apparently involves sex, masturbation, vomiting, flatulence and plenty of other gory acts.

    • Keough sings the closing song.

    “The costumes and makeup are going to get you first (they’re fantastic), but don’t discount the sneaky emotional power that lurks under enough hair and skin and dirt and little, skinny pee-pees (sorry, they cannot not be mentioned here, as prevalent as they are in the film) to make even the most eagle-eyed of audiences not quite realize they’re looking at Jesse Eisenberg or Riley Keough.

    […] There’s a tenderness here, not just between the Sasquatches (and even then, not always just tenderness!) but for nature itself. We may feel connected to this family, but this family is connected to the Earth and the world around in them in a way that humans long ago left behind. That’s our loss, and as the Zellners build to an end that will surely leave some audience members miffed, we soon begin to see the truth: it’s also a loss for the Sasquatch.”

    “Writer-directors David Zellner and Nathan Zellner’s fifth feature is easily their finest, a portrait of a Bigfoot community that starts out as an absurdist comedy before slowly transforming into a moving study of survival and loss.

    All four performances are impressive, but Keough and Eisenberg are especially so; neither relies on star persona, resulting in untamed and unguarded portrayals of these wild creatures. It would have been easy for them to come across as ridiculous, but the force and commitment of their focus feels effortless. Heightened by The Octopus Project’s expressive score, which segues from indie-folk to electronic dissonance, the ensemble essay a meditation on the fragility of family that is unassuming yet incredibly stirring.”

    Source: [Spoiler (click to open)]https://twitter.com/Variety/status/1748559970914754915 // https://twitter.com/IndieWire/status/1748560149197852718 // https://twitter.com/Screendaily/status/1748633929781793033 // https://twitter.com/AnAntLife/status/1748544318376481107 // https://twitter.com/AndrewJ626/status/1748542063401222653 // https://twitter.com/PNemiroff/status/1748565175094202628 // https://twitter.com/erickohn/status/1748563696652071230 // https://twitter.com/kylebuchanan/status/1748540641997447325 // https://twitter.com/beingTSJ/status/1748563184842379605 // https://twitter.com/joshc/status/1748558854856802717 // https://twitter.com/EriktheMovieman/status/1748547160591798381 // https://twitter.com/alexpaps1/status/1748545089951924594 // https://twitter.com/firstshowing/status/1748545042619244666 // https://twitter.com/AnAntLife/status/1748544318376481107 // https://twitter.com/NextBestPicture/status/1748543169111998792 // https://twitter.com/jasonosia/status/1748542863024283715 // https://twitter.com/AaronElWhite/status/1748541310229791112 // https://twitter.com/richardrushfield/status/1748540862383157542 // https://twitter.com/billbria/status/1748540721093615873 // https://twitter.com/ItsTheRealDel/status/1748539756596584808 // https://twitter.com/DeniseVancouver/status/1748717350520758690 // https://twitter.com/celluloidfag/status/1748723788932383102





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