Offering both in-person and online screenings, Sundance Film Festival is back this year in Park City, Utah. The festival takes place from January 18th to January 24th, bringing a host of premieres, episodic films, documentaries, shorts, events, and more. Seeing as we are The Movie Buff, we will be focusing our coverage this year on the film portions—but feel free to check out festival.sundance.org for the full list of activities.
Sundance will be offering a host of ticket options this year. The in-person options range from luxury ($4,000) to single-film ($30), with all the options in-between. Online participation has less of a range: they start at $350 and trail down to $25. You can access all the various ticketing options by accessing the Ticketing, Passes, and Packages URL here.
The program guide will feature an immersive and eclectic film experience as usual. Attendees and journalists can expect to see awarding films from the following categories: U.S. Dramatic Competition, U.S. Documentary Competition, World Cinema Dramatic Competition, World Cinema Documentary Competition, NEXT, Midnight, Premieres, New Frontier, Spotlight, Kids, Special Screenings, Short Film Program, Indie Episodic Program, From the Collection, and Award Winners.
Here, we list our 9 most anticipated films/premieres of the festival. Note: we have not watched any trailers for the films. Continuous festival coverage of films and programs during the festival’s run will be found on The Movie Buff. If you have any questions or comments, use the ‘contact us’ link at the top of the menu. For more information about Sundance, visit festival.sundance.org.
*Sundance 2024 will be covered by Hector Gonzalez. Follow us through the end of the month for continuous coverage and wrap-up thoughts.
1. ‘Eno’ (New Frontier program); Directed by. Gary Hustwit
Brian Eno is among the most exciting and chameleonic musicians ever to enter a recording studio. Whether it is the records he made with Brian Ferry and the rest of the Roxy Music crew or his ingenuous solo work that crosses many genres, Eno is one of those artists who dedicated his entire life to showing listeners the beauty behind innovation and creativity in music. So, when it was announced that a documentary about his creative process—spanning his entire career—would be heading into the ‘New Frontier’ category at the Sundance, it immediately landed a spot in one of my most sought-after pictures there. But that’s not the most interesting part. Technologist Brendan Dawes developed a bespoke generative software alongside Gary Hustwit (the director of this documentary) designed to sequence scenes and create transitions from Hustwit’s interviews with the titular musician—making each screening unique.
Synopsis: Visionary musician and artist Brian Eno—known for producing David Bowie, U2, Talking Heads, among many others; pioneering the genre of ambient music; and releasing over 40 solo and collaboration albums—reveals his creative processes in this groundbreaking generative documentary: a film that’s different every time it’s shown.
2. ‘Gaucho Gaucho’ (U.S. Documentary Competition); Directed by. Michael Dweck, Gregory Kershaw
Sundance Film Festival is known for many things, but one of its most interesting facets is how it curates its documentary lineups for its various categories. Each year, the team overseeing the documentaries selects a wide variety of fascinating pieces that raise many emotions and make you interested in topics that you don’t know much (or nothing) about. One of those documentaries that has sparked my intrigue is Michael Dweck and Gregory Kershaw’s “Gaucho Gaucho.” The filmmakers behind acclaimed docs like “The Last Race” and “The Truffle Hunters” now portray Argentina’s cowboy culture through lavish black-and-white cinematography. Knowing the talent of this directing duo, I can see this documentary being at the top of everyone’s lists when the festival ends.
Synopsis: A celebration of a community of Argentine cowboys and cowgirls, known as Gauchos, living beyond the boundaries of the modern world.
3. ‘Handling the Undead’ (World Cinema Dramatic Competition); Directed by. Thea Hvistendahl
Like last year, the acclaimed independent production house NEON has a few films at Sundance. But this time, they aren’t bringing the shocks and campy notions of an “Infinity Pool”-like project. Instead, we are getting something more melancholic than chaotic with “Handling the Undead,” a grey piece about the space between the living and the dead—learning how to move on and meddle with grief. Coming from the aforementioned company has me already excited since they usually give talented filmmakers a chance to craft their directorial debuts. But the reason why this film might draw a bigger crowd is because it is reuniting Renate Reinsve and Anders Danielsen Lie, the leading pair of “The Worst Person in the World.” The two of them are some of Norway’s best talents right now, and knowing their work together with Joachim Trier, we are about to get another fascinating picture.
Synopsis: On a hot summer day in Oslo, the newly dead awaken. Three families faced with loss try to figure out what this resurrection means and if their loved ones really are back. Based on the book by John Ajvide Lindqvist.
4. ‘How to Have Sex’ (Spotlight program); Directed by. Molly Manning Walker
I have already seen “How to Have Sex,” the surprise Cannes Film Festival hit. And let me tell you, it is more than an exceptional directorial debut from Molly Manning Walker and a first glance at Mia McKenna-Bruce’s acting chops. It is a conversation starter. Piercing and honest, Manning Walker gives us a grounded, unsentimental glimpse at the female experience that’s occasionally difficult to watch. There’s a keen eye for details in its gender and sexual politics, as well as its characters, that gives the film a strong identity and a sense of purpose. This is definitely one of the films you can’t miss if you go to the festival in person.
Synopsis: Three British teenage girls go on a rite-of-passage holiday, drinking, clubbing, and hooking up in what should be the best summer of their lives. As they dance their way across the sun-drenched streets of Malia, they find themselves navigating the complexities of sex, consent, and self-discovery.
5. ‘Love Lies Bleeding’ (Midnights program); Directed by. Rose Glass
NEON isn’t the only independent cinema at Sundance; A24 also has a few films on deck, with the headliner being the sophomore feature by Rose Glass, “Love Lies Bleeding.” Her debut, “Saint Maud,” was an astonishing piece of work that made her a name to look out for in the genre filmmaking market. It was an impressive feature that tackled religion and identity in a way I haven’t seen before—with a sense of freeform expression rooted in the horror genre. Now, she’s switching her gears up while remaining within the genre filmmaking boundaries, using crime thrillers and romance to craft a crafty and slick picture that also serves as a throwback to those who came before it. It has the potential to be this generation’s “Bound” (1996).
Synopsis: Reclusive gym manager Lou falls hard for Jackie, an ambitious bodybuilder headed through town to Las Vegas in pursuit of her dream. But their love ignites violence, pulling them deep into the web of Lou’s criminal family.
6. ‘Presence’ (Premieres program); Directed by. Steven Soderbergh
Steven Soderbergh is not only one of the most influential directors of this generation (although many choose not to admit it) but also the true DIY director—editing, shooting, writing, and directing most of his recent releases. What he has been able to do as of late, using his phone and limited gadgets to create unique and fascinating stories, is truly admirable. With his latest work, “Presence,” he is taking a step back in terms of his behind-the-scenes duties by using a script penned by David Koepp. No matter the project, cinephiles worldwide greet Soderbergh’s projects with open arms, and this one is no exception.
Synopsis: A family moves into a suburban house and becomes convinced they’re not alone.
7. ‘Realm of Satan’ (NEXT program); Directed by. Scott Cummings
One of the most creative features to premiere at Sundance this year might be Scott Cummings’ portrait of Satanists’ daily lives, inside and outside their beliefs. This project is focused on this culture’s way of expression, the people’s search for identity amidst it, and the way Satanism creates an image that fights all forms of tradition. Interestingly, this topic is tackled in film since there are filmmakers who are scared to shine a light on it. But considering Cummings’ work and the movies he has been involved in, I know he isn’t afraid to take a step back regarding a topic.
Synopsis: An experiential portrait depicting Satanists in both the everyday and the extraordinary as they fight to preserve their lifestyle: magic, mystery, and misanthropy.
8. ‘Sujo’ (World Cinema Dramatic Competition); Directed by. Fernanda Valadez, Astrid Rondero
Astrid Rondero and Fernanda Valadez return to Sundance with their latest work, “Sujo.” After delivering one of the best films of 2020 with “Identifying Features” (which also premiered at the festival), this directing duo wants to tell the story of cartel violence and its aftermath, particularly the damage it has on the youth. This will be a demanding watch, as it will get to the center of this cold topic through the lens of a coming-of-age frame. But, if this is anything like their previous work, I know this will be a feature with great dramatic weight.
Synopsis: 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.
9. ‘Veni Vidi Vici’ (World Cinema Dramatic Competition); Directed by. Daniel Hoesl, Juliane Niemann
Of course, a social satire that’s bound to tickle some of the festival goers’ nerves is missing from this list. And that role belongs to Daniel Hoesl and Juliane Niemann’s “Veni Vidi Vici.” Hoesl and Niemann want to push the rich’s untouchability further than we have seen in modern satires, seeking the dangers of people who are not accountable for their actions. On paper, it sounds like a fascinating and riotous ride with some provocation notes amidst its hilarity. But will it function properly in its execution? Satires can be hard to construct; they need a hefty bite to remove some of the jokes. I hope Hoesl and Niemann have the talent to pull it off and deliver some spicy commentary on the upper class.
Synopsis: The Maynards and their children lead an almost perfect billionaire family life. Amon is a passionate hunter, but doesn’t shoot animals, as the family’s wealth allows them to live totally free from consequences.
