By Amanda Gilmore

Finnish-British Writer-Director Mikko Mäkelä delivers this riveting character study of 25-year-old writer Max (Ruaridh Mollica) who currently works as a freelancer at a popular magazine in London and has multiple short stories under his belt. Now writing his debut novel, he begins living a double life as a sex worker for research.

There have been many movies about Sex Workers over the years. For the most part, those narratives have focused on females. Sebastian changes the perspective and Mäkelä delivers a new spin. We first see this world through a research gaze, Max’s. Most importantly we see that his double life has sparked creativity.

Max lives a double life and then goes home to write about what he just experienced. Most would judge him for using these men to write a novel. Refreshingly, Mäkelä never does. There’s no judgment in the sex work or Max’s reason for living his double life. Instead, the lens displays a character study of a young man wanting to be one of the greats but struggling creatively and it’s an enthralling performance from Mollica. Thus, Sebastian is a riveting look at the lengths artists go for their work.

Sebastian is in the World Cinema Dramatic Competition at this year’s festival.

Sebastian screens at Sundance ’24:

Jan 21 at 6:30 PM at Library Centre Theatre

Jan 22 at 6:35 PM at Redstone Cinemas – 7

Jan 25 at 10:00 PM at Megaplex Theatres at The Gateway – Theatre 8/9

Jan 26 at 2:30 PM at Redstone Cinemas – 2

Online — Jan 25 – Jan 28

By Amanda Gilmore

Love Lies Bleeding is a captivating Queer Romance Neo-Noir with brutal violence and an indelible beating heart.

Writer-Director Rose Glass’ follow-up to her beloved debut feature Saint Maud, follows reclusive gym employee Lou (Kristen Stewart) who falls hard for Jackie (Katy O’Brian), an ambitious bodybuilder headed through town to Las Vegas in pursuit of her dream. But their love ignites violence that pulls them into the web of Lou’s criminal family.

It’s set in a desert town in rural New Mexico in ‘89. Gun ranges are common, and owning guns is even more prevalent. Corruption is simple, you pay off the cops. This is precisely how Lou’s father Lou Sr. (performed brilliantly by an eerie hair-extension-wearing Ed Harris) has gotten away with his criminal enterprise.

The Film’s central question is: what would you be willing to do for love? For Lou and Jackie, who’re head-over-heels, they’d do anything. Including kill. In this regard, Love Lies Bleeding is reminiscent of True Romance and Natural Born Killers all while executing a cinematic style that’s all Glass’ own. The Script, which Glass co-wrote with Weronika Tofilska, is loaded with raw sex, brutal violence, and a story about true love.

The Film’s succeas lies in its Cast selling this wild ride. And each one is fully committed. O’Brian gives a star-making turn as the American Dreamer with a big heart that has led her to some violent situations. Stewart is magnetic as a woman with a bubbling anger inside who is finally found someone to become smitten by. She makes you hang on to her every move.

A24/VVS Films release Love Lies Bleeding in cinemas on March 8, 2024.

Love Lies Bleeding screens at Sundance ’24:

Jan 20 at 10:00 PM at Eccles Theatre

Jan 21 at 9:00 PM at Redstone Cinemas – 1

Jan 22 at 9:30 PM at Rose Wagner Center

Jan 25 at 8:00 PM at Library Centre Theatre

Jan 27 at 11:00 PM at The Ray Theatre

By Amanda Gilmore

It’s been 35 years since Director Steven Soderbergh has had a Feature film at Sundance. All those years ago he brought Sex, Lies and Videotape which won the Audience Award: Dramatic in 1989. He’s been back since with his TV Show The Girlfriend Experience in 2009. 

However, his big return follows a family that moves into a suburban home. Shortly after moving in, their daughter Chloe (Callina Liang), still grieving the sudden death of her best friend, senses a supernatural spirit within.

Soderbergh always finds new ways to use the camera. He was the first established Director to shoot films with an iPhone. Additionally, he always finds new ways to bring audiences into a story. He’s back at it again with Presence. This time around he’s used the camera to tell this story through an entirely new —and inventive— perspective. His camera is the ghost’s perspective. Thus, putting a whole new spin on the Haunted House genre.

Screenwriter David Koepp’s Script mixes multiple genres. It begins as a Domestic Drama. We see this family in all its dysfunction. It’s most fascinating seeing the mother (a fantastic Lucy Liu) who favours her son over her daughter. As the story progresses, it leans more into the ghost and Haunted House subgenres. It succeeds at every turn because of Soderbergh’s choice of perspective.

Presence screens at Sundance ’24:

Jan 19 at 9:45 PM at Library Centre Theatre

Jan 20 at 9:00 AM at Egyptian Theatre

Jan 21 at 9:00 PM at Rose Wagner Centre

Jan 23 at 8:00 PM at Eccles Theatre

Jan 27 at 2:30 PM at Redstone Cinemas – 1

Jan 28 at 11:00 AM at Magaplex Theatres at The Gateway – Theatre 1/2/3

By Amanda Gilmore

Writer-Director Josh Margolin’s Feature debut is a tender story about growing old and how we as a society view our elders. All wrapped in one of the freshest whip-smart comedic Scripts.

The story follows 93-year-old Thelma Post (the magnificent June Squibb) who gets duped by a phone scammer pretending to be her grandson. When she finds the PO Box address she sent the money to, she’s determined to confront the crook. However, her family won’t let her. But when Thelma sees Tom Cruise on the front cover of a newspaper promoting his latest Mission Impossible movie (the headline a clever “Mission: Possible”) she sets out on her mission for revenge.

Thelma is the feel-good movie of Sundance ’24 that leaves the audience uplifted and giddy. Additionally, it’s a very timely story due to this scam increasing since the pandemic. It was Margolin’s grandmother, also named Thelma, who nearly got scammed that sparked his idea for this Feature.

It includes a stellar ensemble consisting of Fred Hechinger as Thelma’s grandson Danny, Parker Posey as her daughter Gail, and Clark Gregg as her son-in-law Alan. All hit each comedic and tender moment. Yet, no one can compare to the enchanting Squibb. She’s a force to be reckoned with just as Thelma is as she goes as fast as a scooter can take her. After decades in the industry, finally we get to see her at her action hero best.

There might be no mission that’s impossible for Thelma but there sure is for the audience. Their impossible mission: not having a silly smile on their face from beginning to end.

Thelma screens at Sundance ’24:

Jan 17 at 6:30 PM at The Ray Theatre

Jan 18 at 9:00 AM at Prospector Square Theatre

Jan 20 at 9:00 PM at Rose Wagner Center

Jan 23 at 1:15 PM at Eccles Theatre

Jan 24 at 5:00 PM at Redstone Cinemas – 1

Jan 27 at 6:45 PM at Redstone Cinemas – 7

Jan 28 at 1:15 PM at Broadway Centre Cinemas – 6

Online — Jan 25 – Jan 28

By Amanda Gilmore

After their Sundance breakout debut with Half Nelson, Co-Writer and Co-Directors Anna Boden and Ryan Fleck return to the Festival with Freaky Tales. It follows four interconnected tales that take place in 1987 Oakland. Teen punks defend their turf against Nazi skinheads, a rap duo battles for hip-hop immortality, a weary henchman gets a shot at redemption, and an NBA All-Star settles the score.

If you want to see some Nazis get brutally killed, you’ve come to the right place. This entertaining, bloody ride through the Bay area in ’87 is a thrill. Boden and Fleck have created an Anthology feature that pays homage to Grindhouse Cinema, the ’80s, and the Bay Area. The Filmmakers have created four stories that feel as though they stand alone but manage to connect in the end. A feat for any Anthology feature.

But just like all Anthologies, some stories hit more than others. Additionally, the stories feel too short. The audience would’ve loved to get more backstory on the characters and even stayed with them longer. Story 3 is the one with the most developed character. It follows a Hitman (Pedro Pascal), who has just recently lost everything. It’s the meatiest role out of the four and Pascal unsurprisingly hits a home run.

The entire Ensemble — kill — it. Jay Ellis, who plays Warriors player, Sleepy Floyd, will stick with audiences. His story is the final one and it includes a samurai sword and lots Nazis becoming instinct. This final story feels like a huge nod to Quentin Tarantino’s Kill Bill, Sleepy even dons a yellow floor-length jacket for a bit.

Freaky Tales is a fun time with some delightful Grindhouse gore.

Freaky Tales screens at Sundance ’24:

Jan 18 at 6:45 PM at Eccles Theatre

Jan 19 at 9:00 AM at Egyptian Theatre

Jan 20 at 2:30 PM at Magaplex Theatres at The Gateway – Theatre 1/2/3

Jan 23 at 7:00 PM at The Ray Theatre

Jan 25 at 3:00 PM at Redstone Cinemas – 2

Jan 28 at 8:00 PM at Library Center Theatre

…

By Amanda Gilmore

I Saw The TV Glow is a visceral examination of our obsession with Media and a look at growing up queer in suburbia.

Writer-Director Jane Schoenbrun (Sundance ’21’s We’re All Going To The World’s Fair) returns to the Festival with this Midnight selection. It’s story reaches decades in the life of Owen (as a seventh-grader Ian Foreman and Justice Smith for the remainder of the Film) who’s trying to make it through life in the suburbs. Then they meet Maddy (an outstanding Brigette Lundy-Paine) a classmate a few years older than them. She introduces Owen to the late-night TV show “The Pink Opaque” (it feels like a nod to Buffy The Vampire Slayer). The two become obsessed with the show, seeing themselves within the characters. For Owen, it allows them to identify the person within. For Maddy, it’s seeing someone similar to her on screen. But soon their obsession with the show blurs their lines between reality and fiction.

Just like with their feature debut, I Saw The TV Glow has a vibe all of its own. It’s clear Schoenbrun, with only two features under their belt, is an Auteur. The hypnotic neon lights suck us into this story of Owen, a person trying to figure out who they are and where they belong. Smith is enchanting as Owen discovers the show and a world they can escape within.

The outstanding Script has haunting lines of dialogue such as Owen admitting to Maddy that, “someone took a shovel and dug out my insides.” Later when the lines between reality and fiction blur, particularly for Maddy, she’s given a monologue that Lundy-Paine delivers with an intensity that consumes the viewer.

I Saw The TV Glow is a mix of genre filmmaking that only Schoenbrun could accomplish. The Lighting, Score, and Sound assault the senses. Thus mimicking the sense of overwhelming Owen walks with every day. Schoenbrun examines the identity of their characters while providing an examination of the positive and negative effects of our TV obsessions.

There is a lot at play within I Saw The TV Glow. There are many ways to look at the Film and dissect it. But there isn’t a need. It feels more like a film you experience, one based on instinct and feeling. And does it ever pack a punch right to the gut. Just wait for that ending.

A24 has distribution of I Saw The TV Glow in the U.S., but the Film currently doesn’t have a release date.

I Saw The TV Glow screens at Sundance ’24:

Jan 18 at 10:00 PM at Library Center Theatre

Jan 19 at 9:30 PM at Redstone Cinemas – 7

Jan 21 at 8:15 PM at Broadway Centre Cinemas – 6

Jan 23 at 10:30 PM at The Ray Theatre

Jan 27 at 8:15 PM at Broadway Centre Cinemas – 6

By Amanda Gilmore

Directors Amanda McBaine and Jesse Moss’ return to Sundance after premiering their hit Boys State back in 2020. They bring yet another captivating look inside the world of teenage politics with the outstanding Girls State.

This time around they focus in on a group of teenage girls from all over Missouri. They each have a passion for government and attend a week-long immersive experience in American democracy. They must build a government from the ground up and reimagine what it means to govern.

A Documentary about people relies heavily on the charisma of those subjects. Thankfully for McBaine and Moss, each of the teenage girls attending Girls State are loaded with charisma, passion, and ambition. We get to know each of them as they run for Governor, Attorney General, and spots on the Supreme Court. We’re instantly swept up in their goals leading us to cheer and cry at their wins and losses.

During their time at Girls State, the issues of reproductive rights loom over them as the real-life U.S. Supreme Court debates overturning Roe v. Wade. It makes for an enthralling look into the minds and opinions of future leaders on the topic. Most importantly, the Co-Directors’ lens is focused solely on the future leaders who will be directly impacted by the overturn.

Girls State can push its theme of gender inequality within government further by having the Boys State share the same campus. The young women at Girls State are told they can’t walk alone anywhere on campus and their clothes must be of a certain length. While Boys State can walk alone anywhere and can have their shirts off whenever they wish. Including this in the documentary allows McBaine and Moss to show that even in an all-female pseudo-government, women are conditioned to be treated differently and feel less than. It’s the bittersweet reality that the Co-Directors leave you with while leaving room for hope that change will happen thanks to these brilliant minds.

Apple TV+ will release Girls State on April 5, 2024.

Girls State screens at Sundance ’24:

Jan 18 at 3:30 PM at Eccles Theatre

Jan 19 at 5:00 PM at Magaplex Theatres at The Gateway – Theatre 1/2/3

Jan 20 at 9:00 AM at The Ray Theatre

Jan 21 at 2:15 PM at Magaplex Theatres at The Gateway – Theatre 8/9

Jan 24 at 11:30 AM at Redstone Cinemas – 2

Jan 27 at 6:45 PM at Magaplex Theatres at The Gateway – Theatre 8/9

Today the nonprofit Sundance Institute announced an additional five world premiere feature films, plus four award-winning feature films from previous Festivals, to the 2023 Sundance Film Festival lineup. The 2023 Festival will take place January 19–29, 2023, in person in Park City, Salt Lake City, and the Sundance Resort, along with a selection of films available online across the country January 24–29, 2023. Single Film Tickets for in-person and online go on sale January 12 at 10 a.m. MT.

The latest feature films world premiering at the upcoming Festival include: Beyond Utopia, playing in the U.S. Documentary Competition section; Earth Mama, Flora and Son, and Past Lives, playing in the Premieres section; and Stephen Curry: Underrated,playing in the Special Screenings section.

Returning to the Festival as Encore Special Screenings are CODA (2021 Sundance Film Festival), Klondike (2022 Sundance Film Festival), Navalny (2022 Sundance Film Festival), and Summer of Soul (…Or, When The Revolution Could Not Be Televised) (2021 Sundance Film Festival). This will be the first time these Sundance award winners will screen in person at the Festival in Park City. Encore Special Screenings will screen January 25–27, with many of the filmmakers in attendance for post-screening Q&A’s.

“These five new films round out our program in an exciting and emotional way. They are cinematic experiences that delight, entertain, and keep us on the edge of our seats. The works introduce us to new voices, along with directors we’re excited to welcome back to the Festival,” said Kim Yutani, Sundance Film Festival Director of Programming. “Having four encore films play in Utah is truly a homecoming. While they reached audiences around the world, wherever they were, this year they will return to fuel the energy and excitement at the heart of the Sundance community.”

The Sundance Film Festival is an artist program of the Sundance Institute. Proceeds earned through Festival ticket sales go to uplifting and developing emerging artists on a year-round basis through focused labs, direct grants, fellowships, residencies, and more.

Today’s additions add to the 2023 Festival slate, where 110 feature-length films will screen representing 28 countries, and 45 of 124 (36%) feature film directors are first-time feature filmmakers. 17 of the feature films and projects were supported by Sundance Institute in development through direct granting or residency labs.

98, or 89%, of the Festival’s 110 feature films will be world premieres. Director demographics are available in an editor’s note below.
The latest additions to the 2023 Sundance Film Festival by section are:

U.S. DOCUMENTARY COMPETITION

Beyond Utopia / U.S.A. (Director: Madeleine Gavin, Producers: Jana Edelbaum, Rachel Cohen, Sue Mi Terry) — Hidden camera footage augments this perilous high-stakes journey as we embed with families attempting to escape oppression, ultimately revealing a world most of us have never seen. World Premiere. Available online.

PREMIERES

Earth Mama / U.S.A (Director, Screenwriter, and Producer: Savanah Leaf, Producers: Cody Ryder, Shirley O’Connor, Medb Riordan, Sam Bisbee) — A pregnant single mother with two children in foster care embraces her Bay Area community as she fights to reclaim her family.Cast: Tia Nomore, Erika Alexander, Doechii, Sharon Duncan Brewster, Dominic Fike, Bokeem Woodbine.World Premiere. Fiction.

Flora and Son / U.S.A, Ireland (Director, Screenwriter, and Producer: John Carney, Producers: Anthony Bregman, Peter Cron, Rebecca O’Flanagan, Robert Walpole) — Single mom Flora is at war with her teenage son, petty thief Max. Encouraged by the police to find Max a hobby, she rescues a beat-up guitar from a dumpster and finds that one person’s trash can be a family’s salvation. Cast: Eve Hewson, Joseph Gordon-Levitt, Orén Kinlan, Jack Reynor. World Premiere. Fiction.

Past Lives / U.S.A (Director and Screenwriter: Celine Song, Producers: Christine Vachon, Pamela Koffler, David Hinojosa) — Nora and Hae Sung, two deeply connected childhood friends, are wrest apart after Nora’s family emigrates from South Korea. Two decades later, they are reunited in New York for one fateful week as they confront notions of destiny and love, and the choices that make a life. Cast: Greta Lee, Teo Yoo, John Magaro. World Premiere. Fiction.

SPECIAL SCREENINGS

Stephen Curry: Underrated / U.S.A. (Director and Producer: Peter Nicks, Producers: Ryan Coogler, Erick Peyton) — Stephen Curry is one of the most influential, dynamic, and unexpected players in the history of basketball. Intimate cinematic video, archival footage, and on-camera interviews reveal Curry’s rise from an undersized college player to a four-time NBA champion. World Premiere. Documentary.

ENCORE SPECIAL SCREENINGS

CODA / U.S.A, France (Director and Screenwriter: Siân Heder, Producers: Philippe Rousselet, Fabrice Gianfermi, Patrick Wachsberger) — As a CODA – Child of Deaf Adults – Ruby is the only hearing person in her deaf family. When the family’s fishing business is threatened, Ruby finds herself torn between pursuing her love of music and her fear of abandoning her parents. Cast: Emilia Jones, Eugenio Derbez, Troy Kotsur, Ferdia Walsh-Peelo, Daniel Durant, Marlee Matlin. World Premiered in the 2021 Sundance Film Festival’s U.S. Dramatic Competition section, where it won the U.S. Grand Jury Prize: Dramatic, Audience Award: U.S. Dramatic, and U.S. Dramatic Special Jury Award for Ensemble Cast.

Klondike / Ukraine, Turkey (Director, Screenwriter, and Producer: Maryna Er Gorbach, Producers: Mehmet Bahadir Er, Sviatoslav BulakovskyI) — The story of a Ukrainian family living on the border of Russia – Ukraine during the start of war. Irka refuses to leave her house even as the village gets captured by armed forces. Shortly after they find themselves at the center of an air crash catastrophe on July 17, 2014. Cast: Oxana Cherkashyna, Sergey Shadrin, Oleg Scherbina, Oleg Shevchuk, Artur Aramyan, Evgenij Efremov. World Premiered in the 2022 Sundance Film Festival’s World Cinema Dramatic Competition section, where it won the Directing Award: World Cinema Dramatic.

Navalny / U.S.A. (Director: Daniel Roher, Producers: Odessa Rae, Diane Becker, Melanie Miller, Shane Boris) — Anti-authoritarian Russian opposition leader Alexei Navalny recovers in Berlin after nearly being poisoned to death with the nerve agent Novichok. He makes shocking discoveries about his assassination attempt and bravely decides to return home – whatever the consequences. World Premiered in the 2022 Sundance Film Festival’s U.S. Documentary Competition section, where it won Festival Favorite and the Audience Award: U.S. Documentary.

Summer of Soul (…Or, When The Revolution Could Not Be Televised) / U.S.A. (Director: Ahmir “Questlove” Thompson, Producers: David Dinerstein, Robert Fyvolent, Joseph Patel) — An epic event that celebrated Black history, culture, and fashion shines a light on the importance of history and the healing power of music during times of unrest. World Premiered in the 2021 Sundance Film Festival’s U.S. Documentary Competition section, where it won the U.S. Grand Jury Prize: Documentary and Audience Award: U.S. Documentary.

By Justin Waldman

The Cow Who Sang a Song into the Future requires a lot of deep thinking to truly embrace what the inner message is trying to tell the audience. Francisca Alegria directs and co-writes this beautiful Film that at its core is an allegory for how we are destroying our planet and might die from our own mistakes. As well, the way that the Movie tells its story is so unique and inspiring that its hard not to at least admire what the vision was even if it doesn’t entirely connect with the audience.

Magdalena (Mia Maestro) comes back from the dead, as she is reborn and comes up from the river with fish and singing animals around her. The Film makes sure to use its language sparingly and when it does it is significant, but everything else is surrounded by lore and mythical happenings. There is so much to digest and process throughout the Feature, but it is a wonder to be seen. There is so much beauty, worry, and horrors that are presented throughout the feature that will disturb the audience if the allegory is discovered immediately.

The Cow Who Sang a Song into the Future tells us the terrifying reality we live in, that we are separating children from their families, in depictions of the calves and cows going to the milk farm, that we’re killing the environment and one day we’re not going to have much of a planet to live on. Instead of being a drag, and bringing its audience to depression, the beauty of the Cinematography and marvelous performance from Maestro truly makes the Film great. However, if the message doesn’t hit home immediately, its entire message might get lost. The Cow Who Sang a Song into the Future is beautiful to look at, and is making a compelling statement, if one can get past the horrors of our reality.

The Cow Who Sang a Song into the Future screens at Sundance as follows:
Premiere: Jan 23rd 8:30 pm EST
Second screening: Jan 25th 10am EST (24 hours)

By Justin Waldman

Some films make your innards turn, make you squirm and give you the most uncomfortable feelings of all time. These aren’t bad things, it means the movie is doing exactly what it is supposed to do, and Palm Trees and Power Lines does exactly that. Jamie Dack both writes and directs this Feature, and while it is one of the most uncomfortable and cringiest movies that could possibly be seen it will definitely work for some audiences. However, this did not resonate with me, but I understand that this will affect people differently and it is hard to dismiss what does work within the Film.

Lea (Lily McInerny) is your typical 17-year-old girl, who is just endlessly bored with what life has handed her. She’s not interested particularly in what her friends are up to, disrespects her mother, and just kind of floats through life doing what she wants to. As she’s at a diner with some friends, trying to dine and dash, about to be caught, Tom (Jonathan Tucker) emerges and helps her narrowly escape the consequences of his actions. There is something different about Tom, Lea is drawn to him, his smooth talking and way he takes interest in her. However, something darker lurks as it usually does when a man whose in his 30s takes interest in a teenager.

Palm Trees and Power Lines is carried by its powerhouse performances from both McInerny and Tucker. They excel in their performances, shining bright throughout their screen time, with Lily starting off with her boredom being tangible and then her interest and desire to be wanted by Tom. Tucker’s performance as Tom is disturbing, in all the wrong ways. His way to smooth talk and get around her nerves is something truly monstrous. Furthering the advancement of the story and the truly despicable things that happen in this Movie, makes your stomach churn. Palm Trees and Power Lines will resonate with some audiences and make them truly feel sick to their stomach, and others will struggle to resonate and connect to these characters. Depending on where one falls on that resonation, will entirely make or break the experience for them.

Palm Trees and Power Lines screens at Sundance as follows:
Premiere screening: Jan 24th at 2:15 pm EST
Second screening: Jan 26th 10am EST (24 hours)
Award screening: Jan 29th 10am EST (72 hours)
Award screening: Jan 30th 10 am EST (48 hours)