The Sundance Film Festival has launched the careers of indie film directors, writers, and actors now for 40 years. Back with in-person and online screening opportunities, this year’s iteration boasts new and bold storytelling from every genre. Here are a handful of films we’ll track in 2024.
For more information and tickets to Sundance 2024, click here! Be on the lookout for shared coverage with our good friend, Steve Kopian, at Unseen Films. To see all of his reviews and what he’s looking forward to this year, head over to his home base.
(World Cinema Dramatic Competition)
SUJO
When a cartel gunman is killed, he leaves behind Sujo, his beloved 4-year-old son. The shadow of violence surrounds Sujo during each stage of his life in the isolated Mexican countryside. As he grows into a man, Sujo finds that fulfilling his father’s destiny may be inescapable.
A movie about time and trauma, this beautifully acted and hauntingly written film from the directors of Identifying Features will be sure to captivate audiences.
This film contains strobe effects.
Available in person. Also available online for the public (January 25–28)
40th Edition Celebration Screenings And Events
DIG! XX
DIG! XX tracks the tumultuous rise of two talented musicians, Anton Newcombe, leader of the Brian Jonestown Massacre, and Courtney Taylor, leader of the Dandy Warhols, and dissects their star-crossed friendship and bitter rivalry. Through their loves and obsessions, gigs and recordings, arrests and death threats, uppers and downers, and ultimately to their chance at a piece of the profit-driven music business, they stage a self-proclaimed revolution in the music industry.
DIG! premiered at the 2004 Sundance Film Festival in the U.S. Documentary Competition, where it ultimately won the Grand Jury Prize in the documentary category. DIG! XX, which will premiere at the upcoming Festival, is not only a digitally enhanced, remixed, and remastered version of DIG!, but also a special 20th anniversary new edit of the film culled from footage shot over seven years, and brought to you by the original sibling team, Ondi and David Timoner.
*Digitally enhanced and featuring new footage
(Premieres)
And So It Begins
Amidst the traditional pomp and circumstance of Filipino elections, a quirky people’s movement rises to defend the nation against deepening threats to truth and democracy. In a collective act of joy as a form of resistance, hope flickers against the backdrop of increasing autocracy.
Available in person. Also available online for the public (January 25–28)
(World Cinema Documentary Competition)
Eternal You
Startups are using AI to create avatars that allow relatives to talk with their loved ones after they have died. An exploration of a profound human desire and the consequences of turning the dream of immortality into a product.
“I wanted to see if he was okay,” explains Christi, one of the users of Project December. With this innovative software, users can communicate with a virtual version of the deceased through a chatbot that simulates the dead person’s conversation patterns. Hers was an attempt to check on her first love. Others may simply miss someone, seek permission to move on, or want to rid themselves of guilt.
At this point, I think we’ve all seen the app that turns photos into moving images. The idea feels equally sentimental and disturbing. Eternal You takes this tech further, begging the question, “How far are we willing to go to feel connected to those we’ve lost, and how might that affect our brains?”
Available in person. Also available online for the public (January 25–28)
World Cinema Documentary Competition
A New Kind of Wilderness
In a forest in Norway, a family lives an isolated lifestyle in an attempt to be wild and free, but a tragic event changes everything, and they are forced to adjust to modern society.
Silje Evensmo Jacobsen mixes home movies and a carefully intimate approach to the Payne family, whose isolated existence gets shaken up quite suddenly. This beautiful portrait of connection and resilience in the face of grief will touch your heart.
Available in person. Also available online for the public (January 25–28)
(NEXT)
REALM OF SATAN
An experiential portrait depicting Satanists in both the every day and in the extraordinary as they fight to preserve their lifestyle: magic, mystery, and misanthropy.
Filmmaker Scott Cummings is no stranger to Sundance, having edited many highly acclaimed festival premieres over the past decade, including Never Rarely Sometimes Always, Monsters and Men, and Wendy.
When I tell you that you aren’t ready for this doc, I mean it in the best way possible. Created to ruffle feathers and dispel right-wing hypocrisy, Scott Cummings titillates with gorgeous framing and a touch of tongue-in-cheek magical realism.
This film contains graphic sexual content. Audiences must be 18 or older.
Available in person. Also available online for the public (January 25–28)
(Premieres)
My Old Ass
Maisy Stella and Aubrey Plaza in the Sundance film MY OLD ASS
The summer before college, bright-yet-irreverent Elliott comes face-to-face with her older self during a mushroom trip. The encounter spurs a funny and heartfelt journey of self-discovery and first love as Elliott prepares to leave her childhood home.
The concept alone should get your butt into a seat, but filmmaker Megan Park casting Aubrey Plaza is chef’s kiss in indie cinema.
(Midnight)
I Saw the TV Glow
Justice Smith and Brigette Lundy-Paine in I SAW THE TV GLOW
Teenager Owen is just trying to make it through life in the suburbs when his classmate introduces him to a mysterious late-night TV show — a vision of a supernatural world beneath their own. In the pale glow of the television, Owen’s view of reality begins to crack.
Writer-director Jane Schoenbrun’s We’re All Going to the World’s Fair (2021 Sundance Film Festival) gave us one of the coolest genre-bending films with a breakout performance from star Anna Cobb. I cannot wait to see how this one twists my sanity and senses.
This film contains violence and gore.
This film contains strobe effects.
To find out more information on all things Sundance 2024, head to https://festival.sundance.org/
Coming home for the holidays is always wrought with complex emotions. Directors Caroline Keene and Dan Kennedy give audiences much to ponder in MERRY GOOD ENOUGH. A film about familial chaos across generations, this enjoyable small-town film is sure to strike a chord this holiday season.
Joel Murray is George, the absent but immensely excitable father figure. Writer-director Caroline Keene drops early hints of his toxic masculinity, and Murray eases into the skin of a pretty loathsome man. Daniel Desmarais plays Tim. His sardonic wit meshes perfectly with this cast of fantastic misfits. Comfort Clinton is Cynthia. She is uptight and controlling. Clinton owns the role with her evident daddy issues and needs for approval. 
Sawyer Spielberg is charming as neighbor Sam. His chemistry with Levine is magic, which makes sense since they’ve been married since 2018. Susan Gallagher‘s performance is spectacular. Keene’s script nails the mother of adult children vibe with running errands, asking if we’ve eaten, awkwardly using technology, grabbing coffee, and the overly stocked fridge. Gallagher captivates with her vulnerability. Raye Levine gives Lucy a tangible relatability. She’s funny, a little lost, and yet entirely grounded.
At the heart of MERRY GOOD ENOUGH, this script delves into unresolved childhood trauma, emotional isolation, mental health, and forgiveness. It’s a breezy watch about finding bliss and connection in the imperfect.
Lila Schmitz brings audiences the magic of West Ireland through the melodies of the locals and the emotional pull of a tune. THE JOB OF SONGS is a toe-tapping, viscerally joyous film. 
Filmmaker Henya Brodbeker turns the camera on her, her husband, and their young autistic son, Ari. Through years of filming, we witness the evolution of relationships in her Orthodox community, her marriage, and with herself. This is one family’s story about belonging. 
Anyone who follows my career as a film journalist knows I’m a Mom of a young autistic son. I talk about his diagnosis and navigating the complexities of existing in a primarily neurotypical environment. We are lucky in the grand scheme of ASD possibilities. Our son’s cognitive abilities are off the charts. He is loving, funny, friendly, and would not hurt a fly. Dealing with public meltdowns, particularly if those around you do not know or understand, can be a crushing, demoralizing, tear-filled experience. Nothing is easy. It’s undeniably isolating. It’s the outside world we fear most. THE THREE OF US is irrefutable proof of how equal opportunity changes the lives of families. 
2nd Annual Dances With Films – NYC 
As of today’s Halloween launch day, the platform will feature over thirty titles, including those from indie distributors Oscilloscope, Dark Star, Dark Sky, Dekanalog, Utopia, Yellow Veil Pictures, and others. Titles include Jane Schoenbrun’s 
The look of the film is dreamy. Moody indoor shots juxtaposed with lush Swiss landscapes create a visually sumptuous experience. 
Emilia Jones plays Margot, a college student and movie theatre concession girl who goes on a date with an older patron who may or may not be a murderer. Based on Kristen Roupenian‘s 2017 viral short story in The New Yorker, director Susanna Fogel skillfully weaves a dark tale that every woman has lived.
Emilia Jones (
The script also comedically highlights how far women go to remain appealing, how we placate for acceptance, the self-deprecating behavior, and the blatant shunning of red flags. There is a sex scene that is truly something to behold. It is the most cringeworthy, amusing, icky, relatable thing any woman can watch. It accurately captures the constant fear of existing as a woman. The relentless anxiety, the people pleasing, and the patriarchal pressure from every direction, CAT PERSON nails each aspect with humor and truth in fiction.
MOSQUITO LADY
Phillipino folklore Manananggal meets Catholic guilt in Kristine Gerolaga‘s short film, MOSQUITO LADY. When a young woman can no longer hide her pregnancy from her devout parents, she resorts to a legendary monster to assist her. The practical and Special FX are exquisitely gag-worthy. What a frightening jab at religious righteousness and an exploration of culture. 
A little girl who lost her sight tries to convince her mother that an old woman haunts her. ALICIA is a standout short in story, production, and performance. The score is a perfect combination of high-intensity strings. The film hinges on the spectacular young lead, Naia Las Heras, as the titular character. There’s nothing more unsettling than experiencing the genuine fear of a child. Director Tony Morales and writer Cekis Casanova give us enough information to grow an entire franchise. I could see studios from Blumhouse to IFC Midnight snapping this up for development.
Lewi Dawson plays Spencer, Sophie’s best friend and colleague. They are undeniably fantastic in this role. Stanley Browning is Adam, blind date and lead carrier of the infected alien hate worm. Etcetera Etcetera is our hostess with the mostess and hypnotizes with her spooky charm. Lauren Last gives us everything we need to feel grounded, permitting us to laugh at the premise. I would love to see her in more stories. I would welcome a sequel about Spencer and Sophie’s forthcoming shenanigans. 
2023 has been a step in the right direction for trans, queer, and nonbinary representation with films like 
The cast is phenomenal. Focusing on our leading lady, Carmen Madonia, gives Renata an often aloof attitude, hiding a lost mindset. She’s soft-spoken, outwardly feeling othered by her sister’s personality. But little is said. Madonia’s face replaces any unneeded dialogue.
The film consists of informal sit-down interviews, extensive personal writings, archival footage, and plenty of home videos of the generations of strong women in the family. We discover the hurt from Hiam’s past, the emotional baggage of leaving behind the turmoil of Palestine, but also the treasured connections of the women who shaped her. Hiam’s letters and poems serve as both insight and narration. They are intensely affecting. 
Hiam and her family love one another with their whole hearts. They have no filters when speaking to each other, and their words of affirmation are something to aspire to. Lina Soualem captures all of this in an elegant edit. The film is beautifully intimate. It’s a loving commentary on memory, identity, and honoring your past.
The overwhelming joy of hearing these kids laugh is infectious. SUMMER QAMP is an education, through and through. As a former theatre kid and current creative adult with two kids, I strive to understand how identity plays a part in overall confidence. I grew up with often crippling anxiety, a stranglehold of perfectionism, and feeling othered. It doesn’t feel good. My job is to protect my kids from the same overwhelming feelings of chaos any way I can.
SUMMER QAMP‘S brave kids allow the audience into their personal lives. They may not fully appreciate how fearless they are. Campers share their gender identity journey, the good, the bad, and the emotionally ugly. This film provides a conversation starter for understanding gender dysphoria from those experiencing it firsthand. It’s an aha of a film. 
Joëlle Haddad-Champeyroux plays innumerable ancillary characters. It is a fantastic running joke. Thomas Vieljeux gives Thibaut a melancholy and wounded self-esteem that suits the narrative. It also places Claire in an unexpected hero role.
Lizzie Kehoe is hilarious as Claire. She’s the quirky yet emotionally stunted girl who is genuinely charming. Her giddy exuberance is infectious. Kehoe gives it her all as we wade through an increasingly complex coming-of-age story. 
The film’s only fault is perhaps its length. It could use a trim on some of the lingering shots. On the other hand, the story would benefit from being fleshed out and turned into a miniseries. I think the characters earn backstories and an even deeper emotional investment. GOODBYE, PETRUSHKA would make an accessible YA series. Writer-director Nicola Rose covers a lot of ground in an hour and forty minutes. Hidden beneath a classic meets modern fairytale structure lies political commentary, gender dynamics, emotional manipulation, and celebrated individuality. GOODBYE, PETRUSHKA has solid development potential. Rose has a voice, and there is an undoubtedly hungry audience for what she’s serving.
The number of King’s books that jumped from page to screen is astounding. As a kid in the 80s, like many of the filmmakers in the doc, I grew up seeing King’s books on my family’s shelf but immersed myself in the films first. The kids in Stand By Me and IT became my peers. I rented The Shining, Creepshow, and Pet Sementary ad nauseum. By the time 1996 rolled around, I remembered the glee I experienced when I discovered The Green Mile in the grocery store checkout aisle. 
While we don’t hear from King directly, we see stills and videos of Stephen on the sets of his adaptations. Filmmakers like Greg Nicotero, Mike Flanagan, David Carson, Taylor Hackford, Tom Holland, John Harrison, Mick Garris, and Frank Darabont share how King’s books inspired their work. They speak to the overwhelming readability of small-town horror. King singlehandedly made Maine an unlikely horror destination. I love that everyone addresses The Shining controversy. Behind-the-scenes footage and anecdotes explain the breakdown between the book and the film. Kubrick obliterates Jack Torrance’s humanity that fans of the book (King, most of all) hate. 
King’s deep dive into the political landscape has always existed. The film explores his ability to explore universal truths, whether religion, race, or greed, and make characters lovable or loathsome based on their moral compass. In the same way, we joke about The Simpsons‘ writers predicting the future, Stephen King uses the global landscape to create villains and heroes that shake us to our core. Translating that from page to screen sometimes takes a slight adjustment. The best filmmakers always ask Steve first. 
For horror fans, KING ON SCREEN is like a kid coming home with a Halloween candy haul that would put you in a coma. For fans of his books, it’s like changing costumes and going out for round two. It’s delicious fun, no matter how cliche you might find the Easter egg-filled bookend scenes. They play like a Where’s Waldo for readers and genre fans alike. (I loved it.) So, turn the lights down and make popcorn. KING ON SCREEN scares up our nostalgia and celebrates a storytelling master.
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