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Sinaloa hitchhikes into Texas to meet Merle, her half-sister by way of their dead country musician father. As the two get to know each other, Sinaloa’s chaotic influence starts to unravel Merle’s quiet, comfortable life. While the family music legacy brought Sinaloa to Austin, she won’t leave without taking revenge against the people who stole her daddy away years ago.
An unexpected guest comes to call. There’s something “off” about the guest. People—socialized to be polite—ignore the red flags, ignore the spidey-sense of something not being right. They think uneasily, “Maybe we’re just being paranoid.” And so they invite the guest to come inside. If “The Babadook” taught us nothing else, it’s that once you let that thing in, you’ll never get rid of it. “Barracuda,” co-directed by Julia Halperin and Jason Cortlund (“Now, Forager”) is a sometimes-riveting “take” on the uninvited guest plot-line, grounded to the earth by the phenomenal performances of Allison Tolman and Sophie Reid, playing half-sisters getting to know one another for the first time. “Barracuda” is as much about the ebb and flow of tension, suspicion and uneasiness surging in the space between these two women as it is “about” anything else. Even though other characters appear from time to time, “Barracuda” is a two-hander, with one extraordinary scene after another (the script was written by Cortlund). There are times when it’s difficult to even locate the source of the uneasiness, the sense of increasing emotional danger. This forces the audience into complicity, where we, too, ignore our spidey-sense, our instincts. Maybe we’re being paranoid, narrow-minded. Shouldn’t you be kind to guests, especially one who’s so hard up, especially one who’s a long-lost family member? “Barracuda” says “Not so fast … ”
The opening sequence of the film shows Sinaloa (Reid) swimming in a river, fully clothed, with a huge factory looming in the distance. Next, we see her hitching rides across America, destination unknown. With her poker-straight hair down to her hips, battered jeans, flowy tops, she looks like she could have emerged from the late 1960s, a lost flower child in search of her tribe. She eats food out of dumpsters, splashes water under her arms in truck stop bathrooms. We learn about Sinaloa only from watching what she does (this remains true throughout). On her arrival in Austin, she shows up at the house of her half-sister Merle (Tolman). Up until that moment, Merle was unaware of Sinaloa’s existence. Their father, now dead, was a well-known country singer who impregnated Sinaloa’s mother during a tour of England. According to Sinaloa, he kept in regular contact, and even visited on occasion until all contact suddenly ceased. Sinaloa’s arrival throws Merle—and Merle’s fiance Raul (Luis Bordonada)—into barely suppressed chaos. Merle does not embrace her long-lost sister with open arms. She’s put off by Sinaloa’s matter-of-fact attitude. What does Sinaloa want? Money? Acknowledgement that she’s part of the family? Against her better judgment, and at Raul’s gentle insistence, Merle invites Sinaloa to stay with them until she can find a place to live.