28/10/2025 - Set against the science fiction backdrop of a world on the brink of collapse, Silke C Engler's debut film skillfully explores themes of identity and the nature of relationships

The theme of the 59th edition of the Hof International Film Festival is "The Place to Grow". Several of the films presented this year focus on social issues, global challenges and personal growth. Silke C Engler's science fiction drama Sunny is no exception. The feature joins a series of other works (such as Roman Toulany’s The Total Dream and Alanté Kavaité’s The Islanders [+see also:
trailer
film profile]) that, against the backdrop of frightening technological developments or future catastrophes, primarily ask the question of what it means to be human: Who are we when everything around us is falling apart? How can we continue to exist?

In Engler's film, a young couple, Sunny (Ashley Victoria Lenz) and Ray (Aaron Jay Rome), embarks on a digital detox weekend in a remote cabin. This is the last chance they have to take such a break before receiving microchip implants that effectively replace smartphones and turn each human being into a walking interface. Over the weekend, a gigantic solar eruption fries all electronic devices and implant carriers. Those who waited too long to remove their implants contract a sun-induced form of rabies. Sunny and Ray try to make their way back to Ray’s sister Beverly (Vera Kayh). As they search for a way out, they team up with Liz (Mirijam Verena Jeremic), a mysterious survivalist with a bow and arrow – and her own family issues.

The trio's journey is marked by uncertainty. Within their group and whenever they cross paths with other people (for example, a monk determined to safeguard humanity's genetic legacy, or implant carriers who are only half-fried), they can never be sure who to trust. Moreover, Sunny and Ray begin their journey with divergent expectations of their relationship. Consequently, a large part of the film focuses on them negotiating their future in a world where a future is anything but certain. Therein lies the strength of this film: it makes the viewers think of their own place in a less and less predictable world. Moreober, Sunny and Liz are facing the new reality in ways that could not be more different. One shows genuine vulnerability, for example when she starts caring for a stray dog, while the other presents herself as tough and ruthless. In a harsh world, how much feeling can we show without making ourselves a target?

Another point that particularly stands out in Sunny is the instrumental soundtrack which hits hard at the right moments and is restrained when necessary. With Helmut Zerlett, the helmer has brought an experienced composer (Confessions of Felix Krull, Vampire Sisters [+see also:
trailer
film profile]) on board for her debut work. 

Sunny is not without its weaknesses. Although truly fascinating, the story is told in quite a textbook way, and each danger faced by the portagonists is almost always overcome in the same way: a pull of an arrow, a shot, and onto the next target. Although the film is set in an unpredictable world, the first half is rather predictable. It is also difficult to feel empathy for Liz since her motivations remain unclear until the end. Overall, however, Sunny is a powerful story, and such weaknesses can be forgiven in a debut feature.

Sunny was produced by Lucid Films.