Star People: Chasing the Phoenix Lights

Arizonans used to be the most reasonable, down-to-Earth people in the country, regularly electing smart representatives, like Barry Goldwater, John McCain, and Kyrsten Synema. It seems like a lot of them have gotten a little flaky lately, on both sides of the aisle. Blame the Phoenix Lights. Maybe folks have been abducted and podded, but probably not. Regardless, a UFO-chasing photographer also needs the Phoenix Lights to make sense of her life in director-screenwriter Adam Finberg’s Star People, which opens Friday in Los Angeles.

Way back during their foster family years, Claire thought she saw “something” during a moment of extreme domestic drama. Since then, she has literally chased those lights. Meanwhile, her brother Taylor binged drugs and alcohol, while pretending to be a rock drummer. Unfortunately, Claire must take custody of her recently hospitalized and newly evicted sibling, just when she is scheduled to investigate the most promising sighting yet. It also happens to be the hottest week of the year, so she reluctantly takes him with her.

His surly presence less-than-thrills Justin, her live-streaming sort-of boyfriend. Still, her truck, her rules. Their source is a sketchy border-patrolling militia, who insist the Lights are really just cartel drones. They are a little intense, which is why Justin opposes sharing their cabin with Ricardo and his daughter Gabby, two Ecuadoreans who were dumped in the desert to die by their coyote traffickers. Frankly, he knew there was a good chance that could happen, but he came anyway—presumably because of Chavist-narco violence in his home country.

Star People is almost, but ever so slightly not quite, redeemed by the three featured performances of Kat Cunning, McCabe Slye, and Eddie Martinez, as Claire, Taylor, and Ricardo. The sibling dynamics between Claire and Taylor are brutally honest and acutely believable. By the same token, the dignity and restraint of Martinez’s performance should have been sufficient to make Finberg’s points. Instead, the dialogue and screenplay often could pass for an MSNBC special report of Trump’s illegal immigration enforcement.

In fact, the border issues largely crowd out the UFO-chasing which is supposed to be the film’s whole reason for being. Occasionally, Finberg attempts homages to Close Encounters, but Star People lacks that classic film’s sense of wonder and everyman sensibilities. Rather than inviting speculation, Finberg spends most if his time telling viewers what to think and how to feel.

There is a good concept buried deep within Star People. Mixing and mashing up UFO sightings and first contact themes with the violent chaos on the border (from coyotes and cartels) has yet to be done effectively. Unfortunately, that includes this film. Not Recommended, Star People opens this Friday (8/8) at the Laemmle Royal. (Rewatch Close Encounters instead.)