On Plantation Island, two women (Marly and Desirée), two families and two small communities must face up to their past and decide about their future. Marly, the owner of a small motel and café, finally decides to sell her property to a construction company. After many years, Desirée returns to Lincoln Beach and realizes that the time has come for her to reconcile with her mother and put their tempestuous past behind them.The entire region appears to be coveted by ambitious realtors and developers wishing to turn it into an artificial paradise for tourists. The local communities are enraged and demonstrate against the construction company. When the bulldozers roll into the woods, a secret from the distant past will be revealed and turn everything upside down. –Thessaloniki International Film Festival
John Thomas Sayles (born September 28, 1950) is an American independent film director and screenwriter who frequently plays small roles in his own and other indie films.
Sayles was born in Schenectady, New York, the son of Mary (née Rausch), a teacher, and Donald John Sayles, a school administrator. He was raised Catholic and took to labeling himself “a Catholic atheist”. Both of Sayles’ parents were of half Irish descent.
He attended Williams College, where a small incident provided an inkling as to his future career. In 1972, while participating in the school’s biannual trivia contest, Sayles’ team was tied with another after eight hours, forcing the game’s first sudden death overtime. Sayles was able to cite a particular line of dialogue from the 1960 film The Time Machine, thus clinching that semester’s championship.
Like Martin Scorsese and James Cameron, among others, Sayles got his start in film working with Roger Corman. Sayles went on to fund his first… read more
"The finest thing about the film is its slow, enervated, humidity-induced pace of life. It's the rhythm of the American South, at least as I've encountered it, and every realization, every conflict, every melancholy reflection, and every expression of anger, resentment, or love is set to that rhythm. Most filmmakers set their pace according to more abstract notions, but Sayles knows that climate is crucial. It gives Sunshine State a depth that none of his previous work, not even City of Hope or Lone Star, has had. It also puts the film in a class with Satyajit Ray's The Chess Players, where historical tragedy unfolds at a similarly leisurely trot. Only at the end of Sunshine State, history gets its revenge. As it always will." —Kent Jones