Editorial: Sundance 2024

Written by Grady Fiorio Original Publishing Date: February 9th, 2024

Journey to the Center of the Press Pass

It's the most wonderful time of the year! No. Not when the fat man comes flopping down your chimney. It’s Late January in Park City, and that means… Sundance. My 5th year at the festival, and the festival’s 40th anniversary, Sundance 2024 was met with excitement, surprises, and a lot of unexpected controversy. With nearly 20 films under my belt this year, it was a stacked 10 days. Not only did I catch a hell of a lot of flicks, but I also managed to get a press pass this year, sneak my way into some cool events, and expand my coverage compared to 2023. This year’s selection of films was quite the doozy and seemed to find itself under some scrutiny.

A little spoiler alert, but despite this being the 40th year of Sundance, this year’s festival (as fun as it always is) was a bit of a mess. Now under new leadership, the shifting focus away from films and to corporate events has become clearer than ever. While this has generally been the case, as Sundance has splintered into both a status symbol and display of wealth, this marks a dramatic shift away from films and has caught much of its community off guard. Not only was the 2024 slate a notably weaker selection of films, but a record-low amount of screenings were held. To add insult to injury, screenings were allegedly overselling auditoriums up to 170%. While overselling is commonplace, especially for events like these with many no-shows, a 170% margin is ludicrous, especially when pass holders are given screening access before ticket holders. For the uninitiated, those with the highly coveted Red Pass are allowed into all screenings, no ticket required. So now oversold ticket holders are competing with corporate sponsors that were given an influx of Red Passes. I heard many stories of ticket holders who waited 40+ minutes in line only to be turned away because of a filled auditorium. Those turned away were given ticket vouchers for a film of their choice, but now they were competing with ticket holders, red pass holders, and voucher holders for a different oversold screening. This became such a mess that it has led to possible incoming legal trouble for the festival.

Adding to the chaos was the broken waitlist system. Every screening has a waitlist, and if a film is sold out festival goers can add themselves. Here, they’ll be assigned a number and sent into a numerical order overflow line. If a ticket holder doesn’t show up, they can purchase a ticket and see the film. While it might seem odd to those who’ve never been, no-shows are quite common, and the waitlist was famous for being quite flexible and allowing most, if not all, wait listers to enter the theater. In my 2 previous in-person years at the festival, I could always get into a film this way. However, this year’s waitlist was completely broken. It got so bad that after days of troubleshooting, I had to make an entirely new Sundance account to even access the waitlist. Thankfully, with my press pass, I was able to watch waitlisted films for free, it was just a huge gamble to make it in. Still, in the midst of all this chaos, I did waitlist my way into some of the festival’s largest films, like Love Lives Bleeding and The American Society of Magical Negros. I just wish I didn’t have to fight the system tooth and nail to even get the opportunity to be turned away by an already oversold screening (Something I became very accustomed to this festival season). This is really a bummer because, with all these issues, it’s the low-level staff and volunteers that take the brunt of angry customers promised a seat, all while the new administration takes home the bacon. Sundance’s class divide has always been a sticking point, but now that point is sticking all of us in the ass. It’s a shame that they are catering more to corporate sponsors than the community it was built to serve.

While I hate to continue ragging on this festival that I truly do love, there is one more troubling note that I need to bring up. Out of everything I’ve discussed, this has easily been the most talked about and the most controversial. Sundance leadership wants to leave Park City, the home of the festival for the past 40 years. It’s a decision that I can only describe as truly fucking baffling. Park City has been an essential part of the Sundance experience, dating all the way back to its roots as the United States Film Festival. It’s an iconic city that is full of life, small business, and some of the most wonderful people you’ve ever met. On a practical note, the city has also been retrofitted to cater to the needs of the festival, with millions of dollars spent creating auditoriums that fit Hollywood standards and can seat hundreds, if not thousands of people. To leave Park City now would be to wipe away 40 years of history, cinematic achievement, and community effort to create a place where cinema can be celebrated. There is no world where I could ever approve of such a decision, and I hope that the leadership comes to their senses.

Now putting all this ranting and raving into perspective, begs an essential question. Could I be putting myself on a press and/or film submission blacklist by saying all this? Maybe. But I wouldn’t be doing my job as a journalist or an artist if I didn’t make my voice heard and speak my truth. Even during its most troubling times, at its core, Sundance has championed rebellious and critical voices that had unpopular things to say but needed to be said nonetheless. I’m sure at some point someone at the Sundance Institute will see this, and I hope when they do, they recognize this comes from a place of love and concern. If nobody says anything, then nothing gets done. Mama didn’t raise a quitter. I urge anyone who feels similar to share their opinion with the institute in a constructive way. Nothing will change if our voices aren’t heard.

Now let’s get to some movies…

Big shoutout to all the PR teams that sent screeners and helped out with the press process this year!

*Any film with an asterisk was watched during the online portion of the festival

Films of the 2024 Festival

19. In a Violent Nature

Rating: 1/5 Release Date: N/A Distributor: Shudder (Produced)

There are times when I question the sanity of Sundance programmers. I think to myself “How? How on God’s green earth did this end up in the lineup of one of the most prestigious film festivals in the world? Who is holding you at gunpoint?” Last year’s Divinity gave me a run for my money, but 2024’s In a Violent Nature is a close second. In a Violent Nature comes to the table with a unique premise but squanders it at nearly every step. Turning the table on slasher flicks, this film gives us the perspective of the slasher instead of the victim. Sounds cool enough. However, what starts off fairly innocuous, devolves into a mind-numbingly slow burn that lacks any story, logic, or consistency. Featuring porn-level acting and writing that feels more at home in a film student’s screenplay assignment written by Chat GPT. The story follows a zombie that comes back from the dead when… a necklace is stolen. Yup, every one. That’s right. Our flesh-eating monster also shops at Jared. According to the legend of the film, our nameless creature was bullied as a child, and in a prank gone wrong, he fell off a water tower and died. Now he comes back (as a fully grown man, because I guess this dead 7-year-old has been hitting the gym and drinking muscle milk) to kill those that disturb his resting grounds. When this necklace is stolen by a group of dumb and horny teenagers, our zombie man must get revenge and murder these teens in the most horrific ways possible. While not the worst premise, the execution is laughably bad, constantly defying its own logic, and seemingly adding whatever is required for the story to progress, without any proper reasoning or setup.

Not only is the story atrocious, but the film is brutally amateurish on a technical level. There are multiple occasions of camera shadow on the actors’ faces during close-ups, while stock sound effects play, and the cinematography looks like it was manned by Ray Charles. The compositions are serviceable at best and unviewable at worst, directly blocking what’s supposed to be on screen. In fact, this Anti-Deakens style is only enhanced by the choice to keep the camera behind the back of the slasher for 90% of the the film. The vast majority of shots are composed of uncut steady-cam shots, where our nameless creature walks through the woods aimlessly, looking for people to kill. We don’t even see the protagonist’s face until over HALFWAY through the film! When we do finally see his face, there’s no reveal or “oh shit moment”, it’s just a guy in red makeup. It looks like a bad rendition of the Resident Evil 1 zombie. Watching this film felt like a fever dream of cinematic failure that I couldn’t escape from. However, there is one shining light. Most of the kills are undeniably pretty good. Director Chris Nash goes all out, creating some darkly funny and overtly gruesome kills. When I watched this at the press screening, there were quite a bit of surprised laughs. While it doesn’t make up for the rest of this travesty, it keeps this film from escaping the dreaded 1/2 star. That being said, In a Violent Nature is still a painfully long, astoundingly boring, and utterly pointless film. Don’t waste your time.

18. Igualada

Rating: 1.5/5 Release Date: N/A Distributor: The Film Sales Company (Bought)

It really disappoints me when films with important stories end up so mediocre. Unfortunately, Igualada falls squarely into that category. This documentary follows the presidential candidacy of now vice-president of Columbia, Francia Marquez, as she battles the ins and outs of the violent paramilitary groups that opposed her candidacy. While Igualada tells an important political story, it breaks the cardinal sin of filmmaking, “Show, don’t tell”. Igualada is all tell and no show. While the film starts off incredibly strong, with a political rally broken up by a violent attack, that sees Marquez dodging projectiles and rushed by bodyguards with riot shields, the film never returns to this high. We are constantly told why this election is dangerous, but outside of the opening sequence, we never see it. Imagine the old Vice documentaries about dangerous countries, but with all the interesting parts ripped out. The film doesn’t do much to put us in the shoes of Marquez or feel her struggle. Most of the time is spent going around in circles as she reiterates her policies, without creating a journey for us to follow. The film plays more like a political ad, for an election that has already happened, in a country where most audiences (including myself), don’t live. It’s an odd approach for what could have been a powerful story of hope and success against all odds. I agree with most of her policies, but a documentary isn’t just a series of me agreeing with people. There needs to be a story, and here there isn’t one. Unfortunately, Igualada is no more than a 10-minute political puff piece dragged out to 78 while feeling like 120.

17. Malu

Rating: 2/5 Release Date: N/A Distributor: Pluto Film (Bought/International Rights)

Once again we find ourselves at the crossroads of passionate filmmakers and missed potential. Malu brings us once again to South America, this time Brazil, as we follow three generations of women living under the same household. In the middle of this trio is Malu, a struggling and emotionally chaotic artist, as she tries to live a peaceful life between her daughter and mother. While Malu supports a killer cast and a director with a giant heart, its meandering slice-of-life plot fails to capture attention or leave a lasting impression. I found myself consistently drifting out of this one, as the plot would fade in and out and seemingly go nowhere. I felt bad because clearly, this director had put his whole heart into the film, basing Malu off his experiences with his mother. His love and passion for his family are very apparent, even if the narrative doesn’t do it justice. Unfortunately, as many filmmakers like myself learn, passion doesn’t always make a great film, and Malu is another clear case.

16. Girls State*

Rating: 2/5 Release Date: April 5th, 2024 Distributor: Apple (Produced)

At Sundance 2020, directing duo Jesse Moss and Amanda McBaine rocked the festival with their hit documentary Boys State. The documentary follows the Boys State program. A summer event, that takes high school boys through a mock election where they run for the presidential-like role of governor and other roles like Supreme Court and legislative representatives. It’s an incredibly interesting idea, and the Boys State documentary was a phenomenal insight into youth involvement in political theater. It also gives an interesting look at a single-gendered government, during a highly divisive time in American politics, where many feel that diversity is lacking in Washington. Girls State acts similarly to Boys State, this time flipping the gender and following the women’s program… or so you would think. While I loved Boys State, Girls State is a disappointing follow-up that lacks the same depth and analysis as its predecessor. While Girls State should have been an interesting companion piece, its focus is completely lost as the program itself forgets its purpose. This is because of how poorly organized the Girls State program is, especially compared to Boys State. The film suffers at the hands of the event organizers, who don’t take the event as seriously. It’s treated more like cheer squad tryouts rather than a mock election. Hell, they even have a talent show. The people genuinely interested in politics are few and far between, often shoved to the side because they’re not interested in treating the event like Mean Girls. It’s not women in politics, it’s a playpen to keep women away from politics. This would have been a lot better if the film explored that aspect because it causes a clear shift in how each “state” is handled. There’s a real story about the gender divide in politics, and it goes almost completely ignored until the final 10 minutes. The analogy writes itself, but Girls State is too busy pretending that nothing fishy is going on. Like the program itself, when compared to Boys State, Girls State comes up disappointingly short.

15. Presence

Rating: 3/5 Release Date: N/A Distributor: Neon (Bought)

Presence does what In a Violent Nature can’t. In this much-anticipated festival flick, Soderberg flips the script on haunted house stories by giving us the perspective we never expected… the ghost. This gets literal as the film is shot in the first person perspective of a spirit moving throughout a house, observing a new family moving in. The film is split into multiple scenes that are composed of completely unbroken takes. These play out like mini-plays, without cuts, and shot entirely on steady-cam. It’s an interesting filmmaking experiment, that unfortunately doesn’t go too far beyond its proposed experiment. As expected, there is a lot of dead time as scenes move between different floors of the house, and we as the audience have to wait for the ghost to run up the stairs and get to the next story beat. Even if you aren’t super well-versed in the technical side of filmmaking, the cracks are apparent. However, it’s still a compelling film. It’s surprisingly emotionally intense, with a powerful ending that’s unexpected while bringing things full circle. For the most part, performances are strong and the narrative is just compelling enough to keep you watching till the end. This probably won’t live far beyond “Hey, remember that cool film from Sundance?” but there are a lot of worse ways to spend 85 minutes.

Also, big ups to these Sundance heroes at my screening. Random strangers, you get some recognition.

• The popcorn guy who gave me and a bunch of other people in the waitlist free jumbo popcorn.

• The staffer who gave me her ticket after realizing that nobody in the waitlist was going to make it into the film.

• The bus driver who drove me back to my hotel while speaking nonstop gibberish about anchovies on pizza and poorly cooked steak. I laughed nonstop with the other bus passengers, trying to figure out what the hell was going on.

14. The Moogai

Rating: 3/5 Release Date: N/A Distributor: N/A

Every culture has its own boogeyman story. Sometimes he creeps under the bed, and other times, he steals your baby. The Moogai explores just that by adapting Aboriginal Australian folklore and putting it under the context of early 1900s Australian colonialism. It was completely unknown to me prior to the screening, but from 1905 to roughly 1967, there were “Stolen Generations”. They were children who were forcefully removed from their Aboriginal families to be assimilated into white Australian families. It’s a horrific thought and a disgusting period of time that this film uses its horror premise to explore. The film revolves around a woman from one of the Stolen Generations as she tries to protect her child from the hands of the Moogai, a horrific boogeyman who steals the children of those not protecting their families. While many people will reduce The Moogai to the “Australian Get Out”, its story and original narrative provide a lot more than that. With this premise, director John Bell proves to have a strong vision behind the camera, but unfortunately, his script doesn’t fare as well. Coming in at a tight 86 minutes (with credits), the film doesn’t have enough time to unpack all of its themes and messages, leaving its ending feeling rushed and not as fleshed out as it should have been. Still, performances are strong, and as a straight horror film, The Moogai gets the job done.

13. Rob Peace

Rating: 3/5 Release Date: TBA Distributor: N/A

Rob Peace is an interesting one. While its technical ability, acting, and even writing come off completely stiff, the central narrative is so compelling it kept me glued to the screen through all the bumps and bruises. Based on the true story of Robert Peace, this film follows the tumultuous life of Rob as he tries to escape the violence of Newark’s ghetto by getting a biophysics degree, all while trying to save his father from a life sentence in prison and a deadly cancer diagnosis. Not to mention that it’s all funded by Rob’s marijuana empire, created through his natural science skills and street knowledge gained through his years of watching his father as a hustler. It would be impossible to believe if it wasn’t true, but Rob’s story is undeniably nothing short of incredible. His sheer determination and willpower to succeed at all costs is both an inspiring and tragic story, as he rises and falls to his talents and delusions alike. Unfortunately, as amazing as the story is, as a film, Rob Peace does nothing more than your standard Hollywood biopic. You can see each beat coming a mile away, and the script nor the performances do enough to serve what is otherwise a compelling story. It feels much more like Walk Hard and The Blind Side than it does Fruitvale Station or Jobs. For a film about so much raw passion and determination, it lacks those qualities in its filmmaking. With that being said, it is an oddly compelling film because that central narrative is so good. Watching the film, I needed to know what would happen to Rob and his father. However, I think that speaks more to the true story of Rob than it does the film itself. All my issues aside, I think most audiences will enjoy this enough, as they do most basic biopics. It pulls all the Oscar-baity tricks to get a few tears out of you and make you feel hyped up by the end of the film. I just wish that it went the extra mile to match the story it wanted to tell.

12. Love Machina*

Rating: 3/5 Release Date: TBA Distributor: N/A

They say that true love never dies, but what if it could live forever? Meet Bina48, a humanoid AI robot, and an attempt to transfer the consciousness of Bina Rothblatt into a machine. What was once complete science fiction is now (sort of) a reality. The project is spearheaded by Bina’s wife, the eccentric engineer, and entrepreneur Martine Rothblatt, in collaboration with David Hanson, the CEO of Hanson Robotics. This sci-fi Frankenstein is powered by a “mind file”, A.K.A. a digitized version of Bina’s personality. It’s created by compiling biographical photos, pictures, and documents, that are then uploaded to an AI, that processes and makes sense of all the incoming data. Love Machina follows Hanson and the Rothblatts as they go on a multidecade-long journey to redefine mortality and create an immortal bond between Bina and Martine. It’s a romantically eerie concept but compelling nonetheless. As a documentary, Love Machina is doing a lot, but it doesn’t necessarily have a lot to say. It poses plenty of questions but doesn’t propose any new thoughts or answers to its audience. It’s a bunch of “what ifs?” about the world of AI, which admittedly feels appropriate given that the world is stuck in one giant “what if?” scenario right now. What hurts the film the most is that the journey of Bina48 is far from over. This feels much more like the middle of the story than it does a complete narrative. The technology is still in its relative infancy, and Bina48 still feels pretty rudimentary when compared to the massive leaps in AI tech over the past two years. However, for its flaws, I can’t deny that Love Machina is compelling as hell. Bina and Martine are as charming as they are quirky, and their love for each other is the clear engine for the narrative. There’s plenty here to be entertained by, even if it’s not always as thought-provoking as it could have been.

Now, to look a bit deeper at the central question of the film, can consciousness be transplanted into AI? Looking at the evidence from the film, and the trajectory of technology, the answer seems to be no. You might replace a human, but they will never be human. It’s important to recognize that these AI machines are programmed to say and do the things that make them “resemble” humanity, but they are fundamentally not the same. They are not developing thoughts or feelings of their own free will or mind. They might as well be an advanced speak and spell. They only exist because we exist. They are derivative. As soon as we are gone, so are they. Going forward there are a lot of questions we’re going to be asking ourselves, and we need to be ready to answer.

11. In The Land of Brothers

Rating: 3.5/5 Release Date: N/A Distributor: September Films (Bought/Limited International Rights)

Moving on to the stronger half of the festival, we start with In the Land of Brothers. This film connects 3 stories of anguish as a group of Afghanistan refugees try to create new lives in Iran. What awaits them are trials familial struggles, corrupt police officials, and a constant stream of death. What In The Land of Brothers gets right is its high-quality filmmaking. Directing duo Raha Amirfazli and Alireza Ghasemi go all in on their debut with a compassionate and empathetic lens that explores real horrors that await those who seek refuge from their homelands. While the film isn’t a documentary nor is it directly based on one specific true story, Amirfazil and Ghasemi took a collection of real experiences from those in Iran to craft their narrative. You can feel it in raw moments that leave you in shock and awe at the cruelty of humanity as well as the sheer determination to rise above it. All three emotional stories are complemented by impressive performances from its cast of non-actors. What In the Land of Brothers does lack, is full cohesion among its three intersecting narratives. While each story is powerful in its own right, they all lack any true resolution or closure. The stories don’t exist beyond their initial concepts. What you see is what you get. While this makes sense to an extent, given that many of the people living in these situations go on without true closure, a narrative needs some sort of ending to wrap up the plot beats. Despite having three strong segments, this leaves the whole feeling a bit flat.

10. Stress Positions

Rating: 3.5/5 Release Date: N/A Distributor: Neon (Produced)

Stress Positions is absolute chaotic degeneracy from beginning to end… so of course it’s great! This directorial debut from Theda Hammel brings us back to the lovely summer we’d rather all forget, 2020. Sticking us in the tight-knit apartment of Terry Goon, a hypochondriac taking care of his 19-year-old Moroccan model nephew Bahlul, while also trying to survive amongst his bat-shit crazy landlord and boundaryless best friend. Stress Positions’ over-the-top chaotic comedy swings boldly with political humor that feels relevant but never forced. It’s nonstop chaos from beginning to end, with mile-a-minute jokes that would feel right at home in What We Do in the Shadows or The Office. This is accentuated by the ever-roaming camera that feels like it’s another person trapped inside Terry Goon’s looney bin. Hammel’s direction is strong for what could have easily stumbled just as much as its band of misfit characters. Stress Positions doesn’t reinvent the wheel, but it’s able to get a decent laugh out of a miserable time that most would rather forget. Amazingly, for its narrative being so locked into the 2020 time frame, it never feels dated. Thematically the film centers around a universal feeling of chaos that comes into most of our lives at one point or another, 2020 is just the backdrop. It does run just a bit too long, but the constant barrage of jokes keeps things fresh. I have a feeling this one will find a nice cult following.

One thing I did want to mention is that upon reading further reviews, it sounds like a lot of people got offended and have sticks up their asses about this one. Maybe next time, use the vibrating massager instead.

9. Brief History of a Family

Rating: 3.5/5 Release Date: TBA Distributor: N/A

If there’s one film at Sundance 2024 that’s far and away the best technical showcase, it’s without a doubt Brief History of a Family. This film follows a family living in post one-child policy China, as they take their son’s friend under their wing and find their love divided between their own blood and chosen family. It’s a subtle thriller with a constant silence that’s deafening to the ears and tension so high-strung you could cut it with a knife. Masterfully directed, shot, and musically composed, Jianjie Lin proves himself to be a directing powerhouse. With a strong vision and great technical eye, there are hints of Park Chan-wook and David Fincher in Lin’s directing style. The score by composer Toke Brorson Odin is the hidden star of the film behind the camera. Mixing a modernistic electric droning with the classical styles of Bach, its electronic components sound very reminiscent of the work of Atticus Ross and Trent Reznor. It’s a masterful score and a standout of the film. The cinematography by Jiahao Zhang is Oscar-worthy in its own right, with stunning compositions complemented by naturalistic light. The drama is also accentuated by Lin’s script and the fantastic performances of its four principal leads, especially its two lead child actors, Xilun Sun and Muran Lin. As a director, Lin clearly knows how to put a team together. However, the one place Brief History of a Family finds itself struggling is in its pacing. While the film definitely suits a slow burn, the last act notably drags, taking the wind from its sails. This unfortunately leaves its final climax a bit weaker than it could have been and my attention drifting off by the end. It’s the one thing keeping this from greatness, but it has just enough effect to make this not as fully impactful as it should have been. It’s still a great showcase for Jianjie Lin, and If he can hone in on the edit, he might just be the next big voice in foreign cinema.

Also, thanks for the free promo chopsticks! That was a clever marketing trick.

8. Hit Man

Rating: 3.5/5 Release Date: TBA Distributor: Netflix (Produced)

Fun, slick, and stylish, Hit Man is a return to form for director Richard Linklater. Originally premiering at the Venice International Film Festival, Netflix and Linklater brought the film to Sundance under their Spotlight banner, which showcases films that have premiered elsewhere but are noteworthy enough to show at Sundance. I just barely snuck into this one, as the waitlist was jam-packed, and I was the last one in the theater. I had to sit in the very front row of seats, that were much closer than any front row should be. Still, I had a fun time even if I was looking up Glen Powell’s nose for 90% of the runtime. Good thing he keeps that thing clean. But besides this sizable schnoz on display, what does Hit Man offer audiences? Loosely based on the real-life story of Gary Johnson (no, not that one), a college professor who moonlights as a fake hitman while working for the cops. Putting on an array of costumes and personas, Johnson helps police catch would-be criminals, hiring what they believe to be a career killer. It’s a story too ridiculous to believe but believe it or not, Linklater totally agrees and lets you know he’s taken plenty of creative liberties from the start. What transpires is an often hilarious romp of undercover shenanigans that soon gets roped up into a criminal love story. It’s as fun as it sounds, really feeling like a film from a bygone era of 90s action comedies. This one will make a great night-in on Netflix. I can already see all the soon-to-come Glen Powell thirst traps on Twitter.

But the story’s not over. Hit Man was a nice refresher, because at this point in the festival, I had seen a lot of downers, foreign films, and dense material, so it was nice to have a film that moved fast and was a bit more on the light-hearted side. With that being said, there is something that does stick out about Hit Man, its ending. Don’t worry I’ll avoid spoilers for now. While everything building up to the climax feels like an unpredictable yet natural progression of the characters, the ending comes directly out of left field. It’s very antithetical to everything that came before. While I can appreciate the direction Linklater takes for a film sticking more to the comedic side, it ends up killing the thematic weight it was originally building to, feeling very out of place. There’s another film down the list that does something similar, and let me tell you, it’s a pretty easy way to leave an audience feeling deflated after an otherwise great film. I still think Hit Man has a lot to offer, but I’d be lying if I said that ending didn’t sour the pot just a little bit.

7. Freaky Tales

Rating: 4/5 Release Date: TBA Distributor: Lionsgate/Entertainment One (Produced)

Easily the most hyped film of the festival, Freaky Tales found itself the subject of praise and controversy, as it was one of the main culprits of the Sundance ticket shortage. But festival controversy aside, how was the film itself? To be honest, Freaky Tales is such a hard film to review. This is because there is such a stark difference between its first and second half, both in quality and tone. This 80s take on a Pulp Fiction style story is split up into four separate chapters (or tales), that all eventually collide into one epic showdown. The divide becomes clear between the first two and the last two chapters. The former being notably weaker, with lackluster performances and writing. Strangely enough, the film’s second half is astoundingly good. The quality of everything ramps up significantly on both a technical and narrative level. Of these four chapters, the first two follow warriors-inspired punk rockers as they battle a group of neo nazis. The second follows a hip-hop duo (not too unlike Salt-N-Pepa), as they enter the battle rap scene and defend themselves from misogynistic threats. While both are fun and interesting in concept, the writing and performances fall short, walking a thin line between cringe, comedy, and drama. There are definitely some solid moments and ideas, but they never feel like a unified vision.

The second half is where things take a significant turn for the better, making dramatic changes both in quality and tone. The third chapter sees a mob enforcer as he pulls off one last job and retires from the criminal life. Unfortunately, that ain’t a life you leave. As he finds his family endangered, he loses all limits and takes his boss head-on. This piece is easily the best of the bunch and proves once again why the world is so gaga for Pedro Pascal. He’s a complex character that you can really root for. It’s heavy on the drama, leaving you constantly feeling the weight of the scenes, glued to the screen and on the edge of your seat. The final chapter follows 80’s basketball star Sleepy Floyd, in a fictionalized adaptation of his final game with the Warriors. During his record-breaking play, his family is killed in a botched robbery, sending Floyd into a Kill Bill-inspired revenge as he slashes his way through nazi punks. This last chapter was easily the most unexpected of the bunch, with its final action scene leaving a notable impression on the audience. There were a whole hell of a lot of screams, cheers, and claps. Even though it goes way off the rails, it somehow feels like a fitting conclusion to this batshit crazy love letter to the Bay Area. While it was a great send-off for the film, it just sits right below the third chapter, as a few elements just don’t really work, namely Angus Cloud. I hate to speak ill of the dead, but Cloud sleepwalks through this portion of the movie, leaving his scenes pretty distracting. As jumbled as the whole thing can be, it’s still a fun time, and I recommend you check it out whenever it hits a wide release.

First half 3/5
Second half 4.5/5

6. Love Lies Bleeding

Rating: 4/5 Release Date: March 8th 2024 Distributor: A24 (Produced)

It ain’t Sundance if A24 doesn’t show up on the scene, and show up they did. Director Rose Glass brings us another hotly anticipated film, with her revenge thriller Love Lives Bleeding. Glass’ sophomore film takes us to 1980s New Mexico as a reclusive gym manager begins a romance with an unstable bodybuilder, that sends them into a flurry of murder, family drama, and of course, plenty of steroids. It’s like Thelma and Louise if it was directed by a steroid-juicing David Cronenberg. At its best, it’s an astoundingly beautiful and heart-pounding film. Every directing choice feels incredible intentionally. Performances are top-notch, the characters feel genuine, and the writing constantly keeps you on your toes. Ed Harris as the film’s villain is a notable highlight, rocking an absolute lion’s mane of a wig and doing some of his best character acting to date. He really channels his inner David Carradine, resembling Bill in the Kill Bill series. The film is also very technically sound, with the editing being a particular stand out, allowing its weaving narrative to unravel its mysteries.

But hey, a good movie, is good. Big Surprise. What else is there to say? Unfortunately, more than I’d like. Remember how I said there was another film on this list that botched the ending? If not for the last 5 minutes of the film, Love Lives Bleeding would have easily topped my best of the fest. However, as the film builds to its very clear conclusion (no spoilers), it’s nearly ruined by an ending that betrays everything that comes before it, committing character suicide in the process. In just a single moment, the film shifts tones dramatically and damn near changes genres. What transpires is one of the most baffling sequences put to film. While I can understand the symbolic meaning of the moment, it completely ripped me out of the narrative. Not only does it feel out of place, but it leaves a glaring plot hole for the film, negating the intention of the following resolution. To make matters even worse, in a moment that I believe to be the true betrayal of the film, the protagonist’s character arc is thrown away for a joke. I seriously found myself bewildered at the choice. It could have worked if it was played in a thematically subversive way, similar to the last few seconds of The Graduate and Taxi Driver. However, unlike those films, the ending doesn’t change the context, it completely ignores it. That being said, it speaks volumes to the rest of the film that I still placed this so high on my ranking. I truly loved every second of this until that ending. While it seems like the rest of Sundance didn’t find the ending nearly as controversial, I am curious to see what the rest of the film-going world thinks. Maybe I’m just crazy.

5. Black Box Diaries*

Rating: 4/5 Release Date: TBD Distributor: N/A

Do you ever watch a movie that makes think humanity has outlasted its time on this planet? No? Well boy, do I have the one for you. While Black Box Diaries might be one of the toughest watches at this year’s festival, it will go down as one of the most important. This documentary follows Japanese journalist Shiori Itō as she attempts to use her journalistic skills to battle the Japanese legal system and bring her rapist to justice. The catch? The assailant is Noriyuki Yamaguchi, a high-ranking journalist and close friend of Prime Minister Shinzo Abe. It’s as harrowing as it sounds, as Itō spends eight years building her case and fighting Japan’s outdated legal system and socially conservative values. What’s even more astonishing is that Itō does all this while filming herself, documenting the entire process. There’s a level of vulnerability on display that I can’t even imagine portraying after facing such a violation of the body and mind. One of the toughest scenes comes when Itō gives her first-person account of the assault, describing waking up from the roofie mid-rape. It’s one of the most horrifying, stomach-churning things I have ever fucking heard, and I genuinely wanted to throw up. I don’t understand how there are actually people on this planet that could do that. Through the chaos, somehow Itō powers through, and her determination drives every moment of the film and her investigation forward. It’s an eye-opening view into Japan’s treatment of sexual assault and corruption of power, as Yamaguchi uses his clout with the Prime Minister to evade the legal system. I don’t have a whole lot to say on this one, as it mostly speaks for itself. I would tell you to give it a watch, but that goes without saying. I instead ask that you practice genuine empathy with everyone you meet.

4. The American Society of Magical Negroes

Rating: 4/5 Release Date: March 31st 2023 Distributor: Focus Features (Produced)

Also known as The American Society of Movie Titles that White People are too Afraid to Say

The best kind of Sundance films are the ones that are proactive, and if nothing else The American Society of Magical Negroes sure is that. Kobi Libii’s directorial debut caused a surprising amount of controversy this year. Some felt that it cut too deep, while many others felt it didn’t cut deep enough. “Interesting concept, bad execution. Funny Jokes. On the nose. Antithetical. Biting Commentary” These are just a few of the sentiments I heard passed around the festival grounds. But the people NEED to know, what I, a white filmmaker and movie critic, think of this film (that’s sarcasm for the nonmedia literate). Well shit, I thought it was good. I went in a bit skeptical, as I’ve felt that some of Sundance’s “hyped up” films have fallen a bit flat, but I found myself pleasantly surprised. It’s a wholly original high-concept film, that doesn’t skip out on the substance. It’s funny, politically smart, and balances its parody with compelling characters that you want to see win. The plot beats might be a bit predictable, but this magic society has a few tricks up its sleeve. As you can guess, The American Society of Magical Negroes has a lot to say about race (especially the portrayal of black characters in seminal films), but Libii’s message proves to be universal, as it speaks to self-acceptance and not taking shit from other just to avoid the hard conversations. If anything, the film does fall a bit flat in the magic department, as that’s saved for expository moments and larger plot beats, but the character and humor pull things along to not drag it down too far. Some of the film’s satire features some truly laugh-out-loud moments. The Green Mile parody in particular had me near crying laughing. The lead cast is also strong, with notable standouts Justice Smith and David Alan Grier having great chemistry and sharing some of the film’s best moments. Their father-son like bond elevates the narrative, punches up the humor, and lets the satire feel that much more biting. It’s an oddly charming film, but not one I will soon forget.

3. Skywalkers: A Love Story

Rating: 4/5 Release Date: TBA Distributor: Netflix (Bought)

How can you illegally fall in love? Easy! Just free climb the world’s largest construction site with your soul mate, make sure to get it all on camera and don’t forget to share it on social media. At least, that’s what you should do if you’re out of your damn mind, like the endlessly compelling Angela Nikolau and Ivan Beerkus. This documentary follows these two Russian rooftopers as they illegally scale skyscrapers, run from the cops, and fall in love. Both their romance and skill are tested when they attempt to scale Merdeka 118, one of the world’s tallest buildings under construction, located in Malaysia. Not only will they be facing some of the strictest laws in the world, but their physical and emotional strength will be pushed to the limits in a harrowing 30-hour climb that could cost them their lives. Every moment is captured in raw detail, be it from the looming cameras of directors Jeff Zimbalist and Maria Bukhonina, or the free climb chest cameras of Nikolau and Beerkus. Despite being on a screen, every slope, slip, and gust of wind is terrifying but worth seeing for some of the world's most beautiful views, held exclusively by these two daredevils. Skywalkers is one of those films that was a miracle of the filmmaking gods. For this to be pulled off, the production had to dodge international felonies and keep their two co-stars from dying while allowing them to live and breathe a romance that feels plucked out of Hollywood screenplay. It’s also a testament to editor Alannah Byrnes as she weaves the narrative together from eight years of footage. Skywalkers is a testament to love and passion as they intertwine, fall from the sky, and rise from the ashes.

2. Reinas

Rating: 4.5/5 Release Date: N/A Distributor: N/A

Every year there’s one film that shocks you, surprises you, and you never see coming. Reinas is that film for Sundance 2024. With an incredible script, complemented by wonderfully realized characters, and some of the best child acting you’ve ever seen, Reinas’ twist on the parent trap cleverly uses the political turmoil of 90s Peru to enhance its narrative and create a divide between families that can only be reconciled by care and trust. The film tells the story of two young sisters as they come of age and are split apart by their conflicting feelings towards their divorced parents. While every moment might not be the most original, director Klaudia Reynicke’s cast of characters are equal parts understandable, sympathetic, and conflicting. A film like this is carried by its cast, and Reinas more than steps up to the plate. With no prior credits, actresses Abril Gjurinovic and Luana Vega carry the heart of the film, with child performances that feel genuine and believable in a way that most films fail. Gonzalo Molina does an exceptional job at bringing Reinas’ absentee father, Carlos, to life, giving the trope much more complexity than most would perform. The script by Reynicke and co-writer Diego Vega Vidal is a wonderfully human piece about the truest pain of love. Sacrifice. Its ending is incredible, and while you might see it coming, it packs a hell of a punch and feels wholly earned. Without much publicity, this one is sure to go under the radar, but don’t let it fool you, this is the Sundance sleeper hit.

1. War Game

Rating: 4.5/5 Release Date: TBA Distributor: N/A

You have six hours to save the world’s most powerful country from collapse. How do you do it? Can you do it? This is the question War Game asks. Jesse Moss finds himself on opposite sides of the Sundance spectrum this year, as he co-directs both Girls State and War Game. In this documentary, The West Wing and Dr. Strangelove come to life in a very real and very scary portrait of what could come during this election cycle. War Game brings bipartisan politicians, present and past together, as they participate in a game that simulates an unscripted second insurrection on the U.S. Capitol during an election confirmation. This mock White House Cabinet has six hours to deter the rebellion and stop a second civil war from breaking out. The opposing team known as the Red Cell, acts as a compromised group of the National Guard and conspiracy theorists led by a rogue governor and former military officials. The Red Cell’s main weapon of choice is militia warfare and misinformation tactics. The experience is moderated by a game master in this Dungeons N’ Dragons-like simulation, that could just as easily be called Rednecks N’ Rebels. This wildly inventive idea comes from the Vet Voice Foundation, a veteran-owned, non-profit, non-partisan group, dedicated to fighting the rise of extremism in the U.S. military. At its core, War Game gives audiences an unparalleled look into a Washington war room at the peak of disaster, right as shit hits the fan. It not only gives a fascinating insight into the interworkings of the U.S. government but also shows what could be a very real possibility post-2024 election season. While the simulation is bipartisan and uses fictional militia groups, they are all based on real factions that do exist and permeate social media and the underground conspiracy scene. The kind of propaganda the Red Cell creates is eerily similar to real misinformation tactics that you can find all over Facebook, Twitter, and 4Chan. As a documentary, War Game is an unparalleled look into our government, and as a film, it’s a blood-rushing high-stakes thriller. Editor Jeff Gilbert is War Game’s unsung hero, as he creates an edge-of-your-seat narrative comprised of footage collected over the span of just one day. Directors Tony Gerber and Jesse Moss take a noninvasive approach as we watch a very possible scenario unfold right in front of our eyes.

Unfortunately, my screening of the film became a bit more immersive than I anticipated. Two days after the screening, news broke out that Texas Governor Greg Abbott mobilized the National Guard to the Texas-Mexico border. A move opposing direct orders from President Joe Biden on border policy. The controversy created an even larger division between red and blue states, with many Texans calling for a succession, with many other Red states standing in support of Abbott. This direct opposition in combination with conspiracy theories around Joe Biden’s electoral legitimacy, directly sets up the narrative that War Game presents. Abbot even uses language almost verbatim in the film, calling Biden “a lawless president” and claiming that his administration was acting in opposition to the Constitution. This loss of faith in Federal institutions has caused a massive division in American society, and if not managed carefully, we could not only face a second January 6th, but a second Civil War. Despite this terrifying possibility looming over the United States, I still believe that a better future is possible. Failure is only one of two outcomes. War Game is a must-see documentary before casting your vote.