Over the course of the 2025 Sundance Film Festival, I immersed myself in a diverse cinematic landscape, watching 21 feature films, 4 shorts, and a TV series. While I wasn't on the ground in Park City, I explored the festival's offerings remotely, discovering new voices and perspectives. While some anticipated queer films like Andrew Ahn’s remake of *The Wedding Banquet* and Bill Condon’s *Kiss of the Spider Woman* weren't part of my viewing experience, festivals are about more than just checking off titles on a list. They're about venturing into the unknown and embracing the unexpected. Join me as I delve into the films that captivated me, offering insights, observations, and detailed discussions.
Television
Hal & Harper (dir. Cooper Raiff)
Full review
Features
Didn’t Die (dir. Meera Manon)
Meera Manon returns to Sundance with her first feature since *Equity*. This time, she teams up again with *Farah Goes Bang* co-star Kiran Deol. Deol plays a podcaster trying to survive a zombie apocalypse with her family, ex, and a baby. The film evokes the anxieties of the Covid era, using the zombie uprising as a metaphor for the pandemic and our isolation. However, its strength lies in exploring deeper themes of navigating life amidst death and cruelty. While the film's low budget is evident, the tender performances and effective horror elements make it a relevant zombie movie for our times. It's a raw and honest portrayal of the challenges we face, both internal and external, in a world grappling with constant threats. The film doesn't offer easy answers, but it does provide a space for reflection and contemplation on what it means to survive, and more importantly, to live.
Kiran Deol in Didn’t Die
The Virgin of the Quarry Lake (dir. Laura Casabé)
Set in 2001 Argentina, this film, adapted from two Mariana Enriquez short stories, paints a haunting portrait of a depressed teenager, Natalia (Dolores Oliverio), and the harsh realities of her world. Natalia grapples with unrequited love, societal pressures, and a pervasive sense of unease. The film incorporates elements of horror and magical realism to depict a society plagued by power outages, water shortages, classism, racism, and death. It explores themes of desperation and the struggle for connection in a world that seems to have lost its humanity. The question isn't just about physical virginity, but about the potential loss of innocence and soul. Casabé avoids cynicism, focusing on the humanity that flickers beneath the surface of harsh choices, revealed through the compelling performances of the cast. The film is a powerful commentary on the challenges of growing up in a world that often seems indifferent to individual struggles, and the importance of finding hope and connection amidst the darkness.
Dolores Oliverio in The Virgin of Quarry Lake
Two Women (dir. Chloé Robichaud)
Queer filmmaker Chloé Robichaud, known for *Sarah Prefers to Run* and *Days of Happiness*, takes a different turn with this mostly heterosexual sex comedy. While not as impactful as her previous work, Robichaud's directorial skills and talent for eliciting strong performances remain. The film follows two neighbors trapped in unhappy relationships who seek solace in casual sex. It explores themes of monogamy and marriage with humor and moments of genuine emotion. Karine Gonthier-Hyndman delivers a standout performance, adding depth and humor to the script. While the film may resonate more with straight audiences, Robichaud's unique perspective shines through, particularly in the sex scenes and the inclusion of subtle queer elements. It's a lighthearted exploration of relationships and desires, with a touch of the director's signature style.
Cactus Pears (dir. Rohan Kanawade)
Rohan Kanawade's semi-autobiographical debut is a poignant film about longing – for family acceptance, romantic connection, belonging, and even for those who have passed. Set during the ten-day mourning period for his father, Anand (Bhushan Bhingarkar) returns to his childhood village, where he reconnects with his family and forms a connection with Balya (Suraj Shinde). Their friendship blossoms into romance amidst the backdrop of traditional rituals and societal expectations. The film is characterized by its sensuality and quiet intimacy, capturing the nuances of human connection through static frames and subtle gestures. Kanawade creates a space for the characters to communicate without words, highlighting the unspoken emotions and desires that permeate their interactions. *Cactus Pears* offers a unique perspective on the familiar theme of queer individuals returning to their family homes, emphasizing the complexities of love, grief, and self-discovery. It's a tender and moving portrayal of finding connection in unexpected places, and the courage it takes to embrace one's true self.
Bhushaan Manoj and Suraaj Suman in Cactus Pears
Omaha (dir. Cole Webley)
Set in 2008, *Omaha* tells the emotionally charged story of a father (John Magaro) and his two children struggling to survive after being evicted from their home. Magaro's powerful performance and the genuine chemistry between the child actors (Molly Belle Wright and Wyatt Solis) make their hardships all the more heartbreaking. However, the film's reliance on emotional manipulation detracts from its potential. While the narrative has the potential to explore complex themes of poverty and systemic failure, it often resorts to contrived scenarios and sentimental moments, undermining the story's authenticity. The film's attempt to be apolitical weakens its message, particularly regarding the challenges faced by families struggling within a capitalist system. While *Omaha* aims to evoke empathy, its manipulative approach ultimately falls short of delivering a truly impactful and thought-provoking narrative. It raises important questions about the role of empathy in storytelling and the responsibility of filmmakers to engage with complex social issues in a nuanced way.
Bunnylovr (dir. Katarina Zhu)
Katarina Zhu's feature debut, where she serves as writer, director, and star, explores the complexities of self-destruction through the character of Rebecca. Rebecca navigates a life split between a dead-end job and online sex work, while grappling with a difficult ex-boyfriend and a newly reconnected, ailing father. The film delves into Rebecca's Chinese American identity and its impact on her relationships and experiences. It explores themes of power, vulnerability, and the search for connection. Zhu's portrayal of a "messy girl in New York" offers a fresh perspective on a familiar trope, exploring the darker aspects of her character's psyche. While the film could have pushed further into its exploration of Rebecca's internal struggles, it remains a promising and personal debut, showcasing Zhu's unique voice and perspective. It's a raw and honest portrayal of a young woman trying to find her place in the world, and the challenges she faces along the way.
By Design (dir. Amanda Kramer)
Amanda Kramer, known for *Please Baby Please*, presents another unconventional and visually striking film with *By Design*. This film tells the bizarre yet captivating story of a woman (Juliette Lewis) who becomes obsessed with a chair and ultimately swaps bodies with it. The film explores themes of desire, identity, and the nature of obsession. While the premise may seem outlandish, Kramer's unique vision and the compelling performances of the cast make it work. The film is funny, thought-provoking, and utterly original. It challenges conventional notions of beauty and desire, and invites viewers to consider the complex relationship between humans and objects. *By Design* is a testament to Kramer's artistic boldness and her ability to create films that are both entertaining and intellectually stimulating.
Samantha Mathis, Juliette Lewis and Robin Tunney in By Design
Atropia (dir. Hailey Gates)
Winner of the U.S. Dramatic Grand Jury Prize, *Atropia* is a satire set in a 2006-era military simulation facility. The film follows Fayruz (Alia Shawkat), an Iraqi American actress who takes part in the simulation, and her complex relationship with a soldier (Callum Turner) playing an insurgent. While the film effectively satirizes the world of actors and their craft, its critique of the U.S. military feels somewhat restrained. While it acknowledges the negative aspects of the Iraq War, it doesn't delve deeply into the complexities of the conflict or the moral ambiguities faced by those involved. Despite
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