Bite-sized Sundance 2024 Reviews

​​Coming back from Sundance 2024 was a bit of a whirlwind. Like going a hundred to zero in no time flat. Festivals are a marathon, not a sprint, and in the rush of the Sundance craze, it can be easy to forget about the core of the festival: independent cinema. Amidst the glitz and the glam, the exclusive parties, and the sold-out screenings, the thrill of seeing this year's brightest and most challenging films still rings true. While studios and agents seemed busier than last year— lots of canceled meetings and more acquisitions—the rest of us were sliding down Main Street at the flip of a coin to see the most talked-about films. For me, it's not always about that. In recent years, you see not just more studio and corporate presence at Sundance, but more studio-backed films in the program. As festivals gained public notoriety and studios needed more marketing momentum, it became a natural occurrence to see studios use festivals as a launchpad for some of their more niche or prestige titles.

Hey, I'm not complaining (I got to chat with Rian freaking Johnson a couple years ago.) What is important to note, though, is that as studios and stars take up the few slots that exist, it leaves less chance for the truly indie spirit to thrive—and survive. So while I'm at Sundance, I do my best to see films that push the medium, and films that you truly may not be able to find anywhere else. After all, that's what festivals are for: why not embrace it? So without further ado, let's dive in!

ENO

Directed by Gary Hustwitt, Eno recounts the legacy of legendary music producer and father of ambient music Brian Eno. In chatting with the producers, I learned there are *clears throat* 42 quintillion possible versions of the film. Yes, you read that right. That's lots of zeroes. In order to attract Eno to the project, the filmmakers decided to test out a new technology that creates a new version of the film for every screening through an AI-based generative scene structure. The film's mere existence challenges the documentary format and method, calling into question how we trace the life of a film's subject. Not only do we get glimpses of iconic moments like Bono singing "Pride (In the Name of Love)" for the first time ever, but this open-ended documentary allows the man himself to not just tell his story, but share his insights, creative philosophies, and belief of art's place in the world. In what is a fascinating experiment in the form and an emerging technology, the generative structure might also be limiting in what audiences are given access to, and the overall final emotional connection to the piece. But for any fan of Eno's influence on the musical world, this is bound to be a treat, one that can be savored over and over again. 

DIDI

Taking the leap from short to feature, Sean Wang tells the story of a young Taiwanese-American boy in his last summer before high school. In this perfect time capsule of 2008—from Myspace gifs to bedroom posters of Paramore's Riot!—Sean Wang has crafted a spirited and empathetic portrait of growing up and finding yourself. Our two leads, Izaac Wang and Joan Chen, deliver soulful performances that carry the weight of the film, with Wang in particular wordlessly conveying every ultimate joy and sorrow that comes with those pre-teen years. Despite some familiar beats, Sean Wang's electric and youthful direction always picks the film back up and quickly finds its footing, much like our young protagonist does as navigates first loves, family squabbles, and fitting in.

KRAZY HOUSE

One of the more absurd films in the program, this English-language debut by Dutch filmmakers Flip van der Kuil & Steffen Haars, finds a 1980s family coming home from church as a group of hardened Russians interrupt their daily lives to increasingly surreal ends. Starting off with a cheeky yet unfunny sitcom premise that satirizes the stale comfort of TV families, it derails itself by gnawing on themes of violence in media, Cold war politics, the nuclear family, and the Christian faith. While the filmmakers attempt to mix a myriad of tonal and visual varieties, they unfortunately lead to disorienting effect for the audience. It's a shame really, because Nick Frost's 1980s, Jesus-loving, hokey sitcom dad is a performance worth seeing, and one that shows he has more range than some films give him. 

STRESS POSITIONS 

Theda Hammel's feature debut has promise as it follows a manic John Early taking care of his model nephew, Balul, during the early days of Covid, while trying to keep his ex-hubbie and toxic friend from corrupting Balul. The film starts off strong, especially as Early works every line of dialogue to its maximum comedic potential—which makes it all the more disappointing when it struggles shortly thereafter. What sets this apart from other lockdown films is the occasional biting humor satirizing lost, self-righteous millennials and political discourse about gender, protest, and the Middle East. Sadly though, the jokes get fewer and farther in between, the droll VOs (of which there are many) sap the energy of the film, and by the end, you might be glad to be parting ways with these characters. 

SASQUATCH SUNSET 

How this movie got made is baffling. And that's why I loved it. Bound to be one of the most polarizing movies of the year, the Zellner brothers built a feature-length, wordless film, tracing the year of a sasquatch family. It’s best to surrender yourself to the odd beauty the Zellner brothers have conjured up. With committed performances, lush cinematography, loads of oddball energy, and a serene, nature-doc inspired score by Austin's eclectic The Octopus Project, Sasquatch Sunset is one of the most inventive, unique, and surprising films of the year. And yes those headlines are correct - prepare for lots of grunting, peeing, pooping and other bodily fluids. 

WAR GAME

“Did we learn nothing?” a fellow programmer said as we left the theater. This experiential documentary puts real government officials in an RPG-scenario, where they have six hours in a “War Room” to stop another Jan 6th. What starts out as a complex and inventive thought experiment, turns out to be a major downer. We all know the War Rooms are (mostly) full of old white dudes bickering, and this film was just 90 minutes of that. It captures some unique insight into incel groups and political maneuverings, but only certifies that our government is still not prepared to deal with internal threats, and by the end, felt pointless. Maybe that is the ultimate finding here, that four years later, nothing much has changed, and that alone should have everyone on edge for the next year. 

KNEECAP

A bombastic and knowingly fictionalized origin story for the real-life Kneecap (a Gaelic-speaking hip hop trio from Belfast), Rich Peppiatt’s Kneecap is an early favorite of the year. Taking beats from musical biopics, throws them into a grinder, adds a pint of Guinness, a big bag of drugs, youthful rebellion, neon tracksuits and a layer of political commentary to make one of the most adrenaline-pumping films of the year. With a visual style of mixed media street culture, and nods to Trainspotting, this film is a blast from start to finish. Even with its hardened, non-actor lead characters (playing versions of themselves)—who wisecrack about generational PTSD to get drugs from psychologists—the film manages to sneak a lot of heart and wit into a deftly told story about the power of language and culture. 

BETWEEN THE TEMPLES

Borrowing from Asteroid City and perfecting his grieving widow character, Jason Schwartzman delivers his best role yet as a Jewish cantor who can't keep it together. After the death of his wife, Ben (Schwartzman) struggles to get by day after day, moves in with his moms, and finds himself preparing a bat mitzvah for his old music teacher Carla (Carol Kane). Maybe it's all the dive bar mudslides, his overbearing mom (played with such hammy perfection by Triangle of Sadness breakout Dolly de Leon), or his struggling faith that keep him from truly moving on. Cue Carla, the Maude to his Harold, who introduces a little joy to his life as they find solace in each other during hard times. Nathan Silver directs the camera to move as fast as the witty conversations do, or as slow as the moments demand, reveling in the grounded, awkward humor born from the emotional chaos of being human. 

PONYBOI

Mixing a seedy, neo-noir with a tale of sexual and gender identity, writer/star River Gallo commands the screen with star-making charisma. Gallo proves a deft hand at writing and acting as Ponyboi (Gallo), an intersex sex-worker on the run, tries to make their way out of New Jersey with a big bag of cash, and all the baggage that comes with. It's in the quiet moments with Murray Bartlett's rugged cowboy, and a friend from Ponyboi's past, that Gallo's writing shines. Whether it's in a late night diner or a drag bar, these intimate scenes carry the pain, heartbreak, and dreams of Ponyboi, as they climb out of the roles everyone has assigned them and begin to live life on their own terms. 

DAUGHTERS

This empathetic documentary follows a group of incarcerated fathers and their daughters on the outside as they prep for a father-daughter dance behind prison walls. About halfway through, the day has come. A couple dozen fathers—now dressed in full suits—sit in a hallway. The chatty bunch are all quiet. Feet tap as nerves build. For some of them, it's the first time they'll hug their daughters in years. After a building silence, down the hall, their daughters begin to approach. One calls out "Daddy!" as another nervously approaches before jumping into her dad's arms. Aaaaannd cue the tears. Be prepared to weep at this emotional, cathartic, and tender documentary exploring the emotional and psychological effects of the prison system on not just those behind bars, but the children who are separated from their parents. Natalie Rae and Angela Patton's film celebrates the humanity and love of our incarcerated neighbors, and calls into question the system itself with a clarity and strength films like this can often miss.