Because The Sun
Camus’s Meursault and Thelma and Louise meet up under the blazing sun.
Obsessed with both Camus’s L’étranger and Thelma and Louise, Because the Sun considers violence under the blazing sun. Starting with Meursault’s murder of a man on the beach as he is “pressed” by the blinding sun and considering the gendered violence against the victim’s sister, Sarah Burgoyne goes on to consider Louise pulling the trigger on Thelma’s assailant — all while thinking about the sun, that “unremarkable star” that is a material symbol of pain, an affective backlog we’re slung under, pushing through desert after desert.
Because the Sun’s pastiche of personal and “objective” (often scientific) voices strives to embody both stylistic and formal “relentlessness” by teasing out discursive tonalities that blend and merge into each other, generating a blinding effect, like looking into the sun.