Movies

8 movies to look out for at the Sundance Film Festival

BBG News

What about this for a whirlwind week? Fresh from a sizzling batch of Oscar nominations, let’s dive into the latest buzz – the annual Sundance Film Festival is back! Independent cinema will once again take center stage. As always, The Times will be in Park City, Utah, bringing you daily reviews, news, video interviews, and more. Single-digit evenings are on the horizon for us, but so too are, we hope, some exciting discoveries. For now, here’s a sneak peek at the intriguing titles that have caught our eye.

‘By Design’

In the intriguing production “By Design,” actress Juliette Lewis steps into an unconventional role – a chair. Written by Amanda Kramer, who has transitioned from playwriting to filmmaking, this Sundance Film Festival offering poses the thought-provoking question: What occurs when a woman discovers that society finds her more appealing as an inanimate object?

Kramer’s past works, “Ladyworld” and “Please Baby Please,” have showcased her as a daring visionary with a rebellious spirit, disregarding traditional storytelling norms. If Kramer were a chair, she would don a cover of striking crystals. This film demands viewers to leave their adherence to reality behind. The cast includes Melanie Griffith, Samantha Mathis, and Udo Kier, but it’s the performance of Mamoudou Athie as a man who gains possession (and sits) on Lewis’ chair that has me most intrigued. Athie is known for his intense dedication as an actor, and this unconventional film promises to test the limits of his talent. – Amy Nicholson

‘The Dating Game’

A significant amount of discussion has centered around the imbalanced dating scene in China, as revealed by the latest census which shows a surplus of 30 million single men. With women being in short supply, competition is fierce – picture “The Bachelorette” on steroids. Enter Hao, a dating expert who argues that authenticity is merely a myth. He runs a seven-day transformation program for lonely men, including stylish clothing and haircuts, as well as what he calls “strategic deceit.” Hao’s own wife, Wen, supports his teachings but also has her own coaching business, encouraging women to prioritize self-love first. The documentary by Violet Du Feng explores the struggle between the sexes, offering a close and broadly sociological perspective. She focuses on Chongqing, but captures an empathetic world of insecurity, flirting, and hopefully, love – all while showcasing the differences between Hao’s and Wen’s approaches to dating. — Amy Nicholson

‘It’s Never Over, Jeff Buckley’

I didn’t come across Jeff Buckley’s music until after his tragic drowning in the Mississippi River in 1997. For a while, his only studio album “Grace” was a staple in my three-disc player, playing every night as I fell asleep. Even today, more than 30 years since its release, I still find myself returning to it. It’s a hauntingly beautiful and almost perfect album that I consider one of the best from the last five decades. The upcoming documentary by Oscar-nominated director Amy Berg (“Deliver Us From Evil,” “Janis: Little Girl Blue”) has piqued my interest, as its title references the lyrics of Buckley’s “Lover, You Should Have Come Over.” Berg managed to convince Mary Guibert, Buckley’s mother, to grant her access to the artist’s archives. This documentary promises rare performances and “Buckley’s own diaristic narration,” as suggested by the festival’s programming notes. It also offers a chance to introduce a new generation to this remarkable, yet under-appreciated artist, who is best known for his cover of Leonard Cohen’s “Hallelujah.” – Vanessa Franko

‘Lurker’

I’ve been anticipating the rise of British actor Archie Madekwe (“Midsommar,” “Gran Turismo”) to stardom. In this film, he portrays a musician on the verge, who seems to have a questionable entourage. A doubtful ordinary guy (Theodore Pellerin) is granted access to his inner circle before things get exclusive. I’m not certain about the plot of this thriller, but I sense that Madekwe, fresh off his role as a snide, posh character in “Saltburn” opposite Barry Keoghan, might put up more resistance this time. Debuting director Alex Russell, with two significant TV credits under his belt (“The Bear” and “Beef”) which he wrote and produced, is known for creating tense atmospheres. If the portrayal of emerging pop stardom feels as raw as his depictions of kitchens and road rage, this movie could turn out to be a real burner. — Amy Nicholson

‘The Perfect Neighbor’

In simpler terms, the movie “The Perfect Neighbor,” directed by Geeta Gandbhir, portrays the tragic story of Ajike “AJ” Owens, a mother of four, who was shot by her neighbor, Susan Lorincz, through a locked door after a series of minor disputes escalated. The film, which premiered in the U.S. documentary competition, provides a detailed account of the incident, using police body-cam footage extensively to create a vivid, realistic portrayal of events. The narrative is engaging and immediate, reaching its peak in a heart-wrenching climax as the night of the shooting brings chaos and sorrow. Initially, Lorincz was not charged due to Florida’s “stand your ground” self-defense law, but later faced trial. The movie then delves into how one act of violence can have profound, lasting effects on numerous lives. – Mark Olsen

‘Serious People’

In the unorthodox realm of the festival’s NEXT section, films that are too quirky, too out-of-the-ordinary, or just plain oddball reside. The film “Serious People,” directed by Pasqual Gutierrez and Ben Mullinkosson, embodies this spirit as its eccentric allure unfolds. Gutierrez, a music video director portraying himself in the movie, seeks more time with his pregnant partner, so he hires a doppelganger to stand in for him at work. His plan involves the double subtly playing along during virtual meetings and conferences, but the man he hires turns out to be an unpredictable spark, prone to impractical ideas and questionable workplace conduct. Hilarious yet touching, the film delves into the importance of striking a balance between work and life even in creative professions that demand a fervent passion. – Mark Olsen

‘Sorry, Baby’

As a passionate movie enthusiast, let me share my thoughts on Eva Victor’s debut feature, “Sorry, Baby.” This film serves as a compelling testament to why Sundance remains relevant and paves the way for new artistic voices. The narrative, much like a nuanced novel, subtly portrays a lethargic, aimless ennui that resonates with a burgeoning generational consciousness.

I had the pleasure of watching Agnes’ journey, a literature graduate student turned junior professor at a small liberal arts college, grappling with the aftermath of a devastating incident. Eva Victor delivers a captivating performance, effortlessly blending grace, wit, and raw emotion in her portrayal. In some scenes, she manages to evoke both whimsy and dramatic intensity.

Supporting performances by Naomi Ackie, Lucas Hedges, and John Carroll Lynch add depth and dimension to this bold, innovative tale. “Sorry, Baby” embodies the essence of what makes Sundance special: it showcases daring storytelling and introduces fresh talent that leaves you eager for more.

‘Zodiac Killer Project’

In the numerous popular movies and TV shows based on this ongoing unsolved murder case, one might expect the real Zodiac killer to have been identified by now, hoping for a piece of the profits. However, as any dedicated enthusiast understands, it’s highly likely that the true culprit is already deceased. Yet, dismissing filmmaker Charlie Shackleton as tardy would be unfair. His humorous, dry documentary delves deeper than most into the subject matter, starting by candidly discussing his own failed attempts to create a traditional movie due to book option denials. Instead of lamenting, he crafts a film that serves as retribution against an entire genre, exposing common clichés found in virtually every true-crime project. These include dramatic, faceless reenactments and title sequences that manage to convey both too much and nothing at once. With his own clever British narration, Shackleton’s latest work fits well alongside previous titles like “Beyond Clueless” and “Paint Drying,” offering a self-effacing critique of a storytelling methodology in need of some fresh perspectives. — Joshua Rothkopf

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2025-01-23 19:31

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