Dasha Nekrasova leaps out of the gate with an audacious, out-there horror debut as creepy as it is transgressive.
Ed Helms and Patti Harrison charm in Nikole Beckwith’s refreshing, pleasurable dramedy.
Jerrod Carmichael’s feature debut straddles a delicate balance of tones between comedy and dark thriller, buoyed by a couple of strong performances.
Erin Vassilopoulos’ thrilling debut merrily plays with the film noirs of the past while spinning it into something vibrant and new.
The Michael Greyeyes-starring Sundance debut announces Lyle Mitchell Corbine Jr. as an exciting new filmmaker.
James Ashcroft’s hostage horror is nought but bland, sour sadism.
Prano Bailey-Bond makes her debut at Sundance with a chilling ode to the video nasty, featuring a killer turn from Niamh Algar.
A cross-country book tour is the backdrop for an engrossing doc about coping with the loss of a loved one.
delivers an emotionally engrossing directorial debut.
“Rough Night” meets a board game pitch gone awry in this memorable dark comedy.
From ’70s mob thrillers to docs that stretch their genre definitions, AFI Fest closes with some elegant entries.
Jonah Malek’s documentary proves captivating for divers and non-divers alike.
Justin Etheredge’s directorial debut Good is a flawed but frequently intriguing production.
Two stellar docs — one about the dangers of place, the other the flexibility of identity — screen at AFI Fest.
Hao Wu’s fly-on-the-wall glimpse of China’s 76-day coronavirus lockdown is a startling portrait of resilience and helplessness.
Aubrey Plaza is outstanding in a surreal comedy-drama about artistic integrity.
Christine Molloy & Joe Lawlor’s subtly menacing thriller shows what happens when you ask questions you don’t really want answered.
Michelle Pfeiffer dominates Azazel Jacobs’ dry comedy about a formerly wealthy widow who travels to Paris for one last hurrah.