A Film Festival for the Ages
Sundance Film Festival attracts diverse filmgoers every year who are hoping to find cinematic gems. This year is no different as the festival showcased a wide range of diverse films. The skill sets that the films showcased were noteworthy and deserve praise. The story behind the films, alongside the direction given to make these films happen, is the centerpiece of why the Sundance Film Festival is the year’s best opener, which sets the tone for what the year will bring. Overall, this year’s film selection was worth the price of admission and there are many films and performances that are deserving of all of the praise and awards acclaim that they have received. Above all, the love for independent cinema is alive and well; there is so much to be explored and celebrated through this medium.
Ricky
Writer and director Rashad Frett delivers an attempt at a restorative body of work that is worthy of recognition. The film follows Stephan James (Race and If Beale Street Could Talk), who portrays Ricardo, a troubled young man who was recently released from jail at the age of 30; at the age of 15, he was convicted and spent 15 years of his life in prison. As he is recently released, he sees how the world around him is different. In understanding this, he is doing everything he can to make things better for himself. He begins to realize that it is hard and that he has eyes all around him. Most importantly, the film serves as a coming-of-age story since James portrays a 30-year-old man trapped in a 15-year-old’s body. Frett’s direction is hopeful, but it becomes a tension-filled roller coaster as the narrative progresses. Though the film may not be joyful, it offers a humane take that triumphs above its harsh yet realistic narrative. One of the best accomplishments that the film has to offer is Sheryl Lee Ralph (Abbott Elementary and Moesha), who plays James’ parole officer. There are scenes in the film where the audience can see the power that Ralph exudes, but one scene in particular displays her vulnerability in question, and it serves as a pivotal moment in the film. The film took home the Directing Award for the US Dramatic category.
Omaha
Cole Webley’s Omaha is heartbreaking, to say the least. The film takes on so much, leaving nothing but a happy ending to be acquired, which isn’t plausible. The film is about a father (John Magaro) who takes his nine-year-old daughter Ella (Molly Belle Wright) and six-year-old son Charlie (Wyatt Solis) on a trip across the country to Omaha, NE. The film heavily revolves around a tragedy that is lightly touched on throughout the film and seeps through the cracks of the foundation of the film. In doing so, the story only gets more heartbreaking. The audience can see this heartbreak through the lens of Molly Belle Wright, who is taking in the world around her. In the same breath, there’s a lot that can be said about John Magaro as he is doing what he thinks is best for his kids in the midst of grief and deciphering what decisions to make. One thing is for certain, and that is the child stars in Molly Belle Wright and Wyatt Solis give great star-making performances that land organically. John Magaro (Past Lives and September 5), who is a star on the rise, is amazing in this film and solidifies himself as a household name in this film. What Magaro does at the end of this film is so deafening that no one will forget his performance (let alone the roller coaster of emotions he exudes throughout). The film didn’t take home an award in the US Dramatics category and has yet to be acquired for distribution. Though there is no distribution in sight, it seems fair to highlight that this is one of if not the film with the coldest ending to come out of Sundance this year.
Plainclothes
Plainclothes is an explorative and emotionally complex directorial debut from Carmen Emmi. The film follows (Tom Blyth), who is an undercover agent tasked with luring and convicting gay men. While in pursuit of this task, he ends up risking it all for one of his targets (Russell Tovey). This is one of the most masterfully edited films to come out of Sundance this year.
The film is immersive, and there are times when it is filmed through the lens of an old-school camcorder. The specific aspects of the film (which use the camcorder footage) highlight some of the film’s most vulnerable moments, and it shifts the perspective of the film, giving the audience an idea that may or may not be exact through the lens of the given narrative. Tom Blyth’s (The Hunger Games: The Ballad of Songbirds and Snakes and Billy the Kid) performance is a career-best; in the role, he is raw, and as he internalizes his emotions, as the film progresses, he begins to unravel in a sense where he hasn’t been able to convey who he truly is. As for Russell Tovey (Looking), he is well-crafted in this film, and he serves as an influential love interest who is bigger than what he leads and what the story portrays. As a part of queer cinema, Plainclothes thrives off of introspection, and that is what makes it so unique; the film explores so much, and it is a huge accomplishment for Sundance. The film took home the Special Jury Award for an Ensemble Cast in the US Dramatic category.
Sorry, Baby
Comedian Eva Victor stars, writes, and directs her first film in Sorry Baby, a dramedy that evolves around a graduate student aspiring to become a college professor who is learning how to cope after being a victim of sexual assault. Victor’s greatest strength as a director is balance and gripping dialogue. The film knows how to be dramatic, sad, and hilarious all at once. When it comes to dealing with trauma, the film is expansive and takes its audience on a journey of assessing how to overcome that struggle (in the span of 5 years). The film is intentional when it comes to its supporting cast, as they work in Victor’s life in an effort to breathe life into her once again. Even more so, the dialogue is catching. There are moments in the film that are hard to look away from due to how effective the scenarios at hand are. What sets this film apart from the others is that its ending is reassuring in a way that audiences can respect and feel liberated through any circumstance, whether good or bad. The film is produced by Barry Jenkins (Moonlight and If Beale Street Could Talk) while starring Naomi Ackie (Blink Twice) and, after a long-awaited return, Lucas Hedges (Lady Bird and Waves). The film took home the Waldo Salt Screenwriting Award in the US Dramatic category. By the end of the Film Festival, Sorry, Baby was acquired for $8 million by A24.
Twinless
It can be said that Twinless was the crowd-pleaser of Sundance. The film is a masterfully crafted dramedy that explores the depths of loss and loneliness. The film is exceptionally directed by James Sweeney (Straight Up), who also stars opposite Dylan O’Brien (The Maze Runner, Caddo Lake, and Saturday Night). The film is about two men who meet in a support group after the loss of their twin. After they meet, they begin an unlikely friendship due to the grievances that they have in common. The film doesn’t begin until 20 minutes into its runtime, which is technically the essence of this film because what is displayed beforehand is solid and sets up something totally different. After the turning point, the film flips on its head in the most interesting ways possible by ushering in a new, unlikely perspective. The film is essentially Ingrid Goes West with a niche twist, but it is even more personal at its core. Dylan O’Brien gives the best performance of his career in this film. Not only does he play a dual role he also showcases an immense range through grief and seclusion. Surprisingly, O’Brien has a few monologues that are both surprising and compelling. As the director, star, and writer of the film, James Sweeney’s perspective as an actor and director is easily noticeable in the film, and he is essentially playing himself. Though this is easy to see, he does an amazing job showcasing the contrast between his friendship and relationship with O’Brien. Alongside the co-leads, the film stars Lauren Graham (Gilmore Girls), Aisling Franciosi (Speak No Evil), and Chris Perfetti (Abbott Elementary). As Sundance Film Festival’s prized possession, the film took home the Special Jury Award for Acting and the Audience Award for the US Dramatics category.
Dylan O’Brien and James Sweeney on Playing Twins in Twinless (2025) Official Variety Video
You Might Also Be Interested In:
Source: Dead Talk Live
Contact Information:
Email: news@deadtalknews.com
Phone: +1 (646) 397-2874
Dead Talk Live is simultaneously streamed to: YouTube, Instagram, TikTok, Facebook, Twitch, Twitter, Vimeo, and LinkedIn
Shop official Dead Talk Live Merchandise at our Online Store
Source: Dead Talk Live
Contact Information:
Email: news@deadtalknews.com
Phone: +1 (650) 308-4023
Dead Talk Live is simultaneously streamed to YouTube, Instagram, Facebook, Twitch, and Twitter daily at 9:30 PM Eastern U.S. Time.
Shop official Dead Talk Live Merchandise at our Online Store
Author
Elke Simmons' writing portfolio includes contributions to The Laredo Morning Times, Walt Disney World Eyes and Ears, Extinction Rebellion (XR) News/Blog, and Dead Talk News.