Kattiera Nana I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

AboveDeepBuggy Some things I liked some I did not.

Abegail Noëlle While it is a pity that the story wasn't told with more visual finesse, this is trivial compared to our real-world problems. It takes a good movie to put that into perspective.

Yazmin Close shines in drama with strong language, adult themes.

redshoesfall This movie was actually pretty incredible. It calls your attention using very little, leaving you to decide what's reality and what isn't. It's a successful movie - well and cryptically written, gorgeous and intimate cinematography, and a strange and daring story that is pretty hard to watch at times.I definitely enjoyed what this movie brought, how it gives us enough to estimate who this protagonist is - I'm not going to give anything away, but really what this movie ends up being is an inside to someone's personal hell. It's sad, dark, and even terrifying. Really. It's terrifying, it's expressive, it's raw. Doesn't hold off - and nothing, to me in the least, feels contrived. It all happens for a reason, whether it's really happening or not. It has some really powerful images that stick with you after viewing, things that make you think and wonder.I really recommend this film for indie lovers and for those who want to see something really dark and really psychological. The acting is great, and overall it's a beautiful and personal film about what this girl is going through and why. I ended up loving this film. See it for yourself. It's DEFINITELY not for everyone, with graphic nudity, violence, so on so forth, but it's all worth while. Great film that no one's heard of. Super intense, but has me thinking for a while after watching it - and planning another rewatch soon.

pdlussier1 Firstly, if you: Considered Lynch's "Lost Highway" / "Mulholland Drive" or Lyne's "9 ½ Weeks" to be pointless, plot less & boring drivel in any way; Prefer reading cereal boxes over poetry any day; Think that anything not plot driven is pretentious; Then: This one's not for you. Move on and spare us from yet another barrage of unwarranted "Boring" and "Goes Nowhere" posts and reviews identical to all those that litter every independent film's page. For the more adventurous viewer: Ben Cresciman's "Sun Choke" has absolutely no clear-cut links with the aforementioned films—they're the better-known examples that readily came to mind--but if you enjoyed some aspects of those, then the story-telling mode employed here will definitely not feel alien to you or be an obstacle to the film's many appealing qualities. And no, being a fan of poetry is not necessary, but keep in mind that this film, like a fine poem, demands a certain degree of patience, receptivity, and abandon if the viewer is to reflect any meaning upon the prudently crafted images that play upon our senses; if anything, this film positively drips sensuality, though one that never draws its potency from sexuality/eroticism albeit the actual, eye-appealing nudity, which there's plenty of. Of course, composition and framing are a big part of Cresciman's success in that respect, but it is in fact, contrary to most who've dealt with such a subject, the use of a highly-curtailed palette that moves heavily towards light and limited contrasts, rather than darkness, that establishes him as someone with a clear intent and a firm control over his medium; this alone is a refreshing change for the genre. Combine this with remarkable, understated performances and the overall effect hypnotizes as it seeks to quietly unsettle. Barbara Crampton discreetly gives life to a character none of us would want in our lives even if no one can satisfactorily explain why, and images of Sarah Hagan, who plays the unstable lead hauntingly, will surely linger in your mind for some time. Despite all that, I don't entirely feel comfortable limiting Sun Choke's scope to art house or character study. Certainly, exploration is a big part of it, but not in any narrowly definable way; suggesting it's an examination of lunacy and control dynamics (as seen through the interplay of three women) Is entirely accurate, but also feels deeply lacking. Still, even if blurred, narrative and genre are patently excluded from this examination. So, why have I avoided discussing the story line up to now? Well, at this point, I'm assuming you've already read at least one synopsis and my goal isn't to tell you the story—the film does that— but to help you decide whether you should invest time and attention watching it. For that reason, and the fact that I sincerely believe that the story presented is so dull it doesn't even warrant mention, I strongly encourage anyone who's not put off by anything I've mentioned so far to forgo any attempts to learn more re the plot until you've given it at least one view. Despite what's being said, all the story elements are there; we don't need anything more. Sure, our mind, preoccupied with the details, seeks answers and is left unsatisfied. That's our problem, not the filmmaker's, for the story is that banal and can't be improved with details. Accept it. In a way, it's similar to Aronofsky's "Requiem for a Dream", which presented nothing but the clichés associated with an already overdone subject,but did so by focusing on a slew of fresh technical aspects, the sum of which gave us something that felt so very new. Here, through Cresciman's work, we're granted a highly intimate and revealing view of insanity, one that lets us access new feelings, but only if the viewer willingly accepts that uncertainty vis-à-vis reality along with a marked irrationality (i.e. unjustifiability of actions) are part and parcel of psychosis… Isn't madness to absolutely want to apply logic where none can be had? Nonetheless, those desperately seeking to piece together, and cling to, some deep, hidden meaning have plenty to work with—all the elements are there for that as well—though I suspect you'll never find satisfaction if taking that route.Is "Sun Choke" the result a fluke, or does it herald a new, bona fide artistic force? I, for one, am anxiously looking forward to Ben Cresciman's next project.

Mace I knew virtually nothing about Sun Choke before I decided to check it out on Netflix. This movie had an extremely limited release date and flew under many critic's radars. My expectations were fairly high going into it, thinking that I may have discovered another subtle and underrated gem. Boy was I wrong. Sun Choke is a movie that has nothing important to say and feels cheap, gimmicky and recycled.Firstly, the good things. Admittedly, there aren't many positives with Sun Choke but I guess the acting was passable. Sarah Hagan in the lead role does a decent job even if she sometimes overacts. I can see her having bigger roles in the future, but for the rest of the cast, that's a different story. One of the supporting actresses in the film was particularly awful. Sure enough, this spectacularly attractive actress, is also a model. Just as I suspected. And conveniently, she has multiple nude scenes. So clearly the director decided to go for the looks instead of the talent which led to a laughably bad performance from her. Now the story. The story is basically a blatant rip-off of Yorgos Lanthimos' Dog Tooth, which just happens to be a much better film. Sun Choke attempts the "isolated training sessions" plot that so many films have done(better)before, which gives the film a recycled, cheap feeling. And if you are familiar with the genre, it is also totally predictable. There was nothing surprising about where the story went and frankly I stopped caring after 45 minutes. There is not one bit of originality in this campy, pretentious mess. None of the protagonist's psychotic actions can really be explained as all of the characters are completely underdeveloped, especially the main character. Her transition that we are supposed to find shocking, comes off as laughable and just forced. We know nothing about this character or why she is doing these things. The most explanation we get for the character's actions is "she's insane" and that felt offensively lazy. The camera work was okay and the lighting was decent but it doesn't even begin to bring the quality of this film anywhere close to above average.Sun Choke does absolutely nothing new. Basically it's entire story is borrowed and has nothing remotely interesting going on. Quite frankly it wouldn't be too harsh saying that this movie has no reason to exist. It's unoriginal, recycled and completely gimmicky. The pretentious take on the concept feels cheap and the blatantly obvious ending metaphor is as subtle as hammer-blow to the head.

marcar912 A confused and desperate attempt at an art house or psychological thriller. A complete mess. My only reaction is: GET ME OUT OF HERE..as I watched the ravings and lunacy of the writer and director come to life on the screen. This movie would have been better off remaining in someone's fevered dreams than shown on the public stage. I understood what was going on but found it trite, pretentious and more than a little outre. If shock was the aim, it did not succeed.The gore was out of control in a way that did not suit the subject. Also what's with the videotapes of her childhood and the "memories" of her breech birth. I suggest you watch Dogtooth instead--a deep and commanding approach to similar subjects