The Best Sundance Films to Look Out for in 2025

“Cherien Dabis’s incredible third feature will move you so deeply that you’ll find yourself pacing, trying to process all your emotions. All That’s Left of You follows a Palestinian family across three generations, navigating the enduring trauma of displacement and grief. I feel incredibly lucky to have witnessed the stunning performances of this ensemble cast (including Dabis, Saleh Bakri, Adam Bakri, Mohammad Bakri, Maria Zreik, and Muhammad Abed Elrahman), because nothing else at the festival quite compared. Though the narrative is undeniably tragic, it is portrayed with profound beauty, poetry, and honor to the Palestinian experience. Go see this film when it’s out.”—Christine Jean-Baptiste, contributor

“Rose Byrne gives an unforgettable performance as a mother teetering on the edge as she tries to care for her sick daughter, repair a mysterious gaping hole in her ceiling that emits light and goo, and keep her professional life afloat. I won’t sugarcoat it; this is a stressful watch—like if Uncut Gems were about motherhood, or if Nightbitch were far more chaotic and abstract—but through the dark comedy, writer and director Mary Bronstein creates a visceral portrayal of being a parent. It’s not just about the overwhelming responsibilities—though you do spiral with Linda (Byrne) as she drives her kid to doctors appointments while her husband is away, or dodges her child’s pleas for a hamster, or searches for a woman who disappeared from her office—it’s also about not knowing if you’re doing it right and lacking the help to figure it out. All while still harboring your own unresolved trauma and generational wounds. I’ve been thinking about it for days now, especially Byrne’s eye-twitches.”—Erica Gonzales, deputy editor, culture

Coming in 2025.

“Lurker is the slow-burn version of what Saltburn tried to do, but better. Sorry! Someone had to say it. Alex Russell’s (The Bear, Beef) thrilling directorial debut follows a wallflower (Théodore Pellerin) whose proximity to fame, after meeting his favorite artist (Archie Madekwe), sends him spiraling. The chemistry between the two leads is so palpable, it’s downright scary. In a nutshell, this film is about fandom gone wrong, a tense dance of power dynamics, and just a really good time. Also, who do I need to call to get Zack Fox in more films?”—CJB

“An undercover cop (Tom Blyth) is tasked with seducing, then arresting, gay men. It's business as usual… until he falls in love with one of his suspects. What could possibly go wrong? Carmen Emmi’s directorial debut offers a poignant and heartbreaking glimpse into a man’s internal struggle as the weight of his choices closes in on him. The grainy, lo-fi VHS footage amplifies the haunting nature of the memories that refuse to let go. Plainclothes won the U.S. Dramatic Special Jury Award for Ensemble Cast.”—CJB

“Brittany Shyne’s debut won this year’s U.S. Grand Jury Prize: Documentary, and it’s easy to see why. Seeds is an intimate portrait of Black farmers in the rural South that immerses viewers into their daily lives and work, from harvesting cotton and corn, to repairing their homes by hand, to raising their grandchildren and livestock. Shot beautifully in black and white, the film takes its time to build a connection between the audience and its subjects, mostly elderly men continuing the family tradition of making a living on their land, even if their children have moved away to seek work elsewhere. Most importantly, the film highlights the discrimination they face compared to their white counterparts, especially when it comes to getting support from the Department of Agriculture. In especially moving scenes, they protest in Washington, D.C., and take turns urging federal workers over the phone for immediate aid from the Biden administration. A moving and powerful watch.”—EG

“Directed by Ahmir ‘Questlove’ Thompson—who won an Oscar for his last Sundance film, Summer of Soul—this documentary examines the lasting legacy of Sly and the Family Stone and its legendary frontman. Laced with compelling archival footage and interviews from fellow stars like Nile Rodgers, André 3000, Chaka Khan, and Stone’s own bandmates, the film traces the musician’s career from his early beginnings as a songwriter to his breakout with 1967’s ‘Dance to the Music’ and activism through music. But through it all, Questlove investigates the notion of the ‘Black genius’ and how it affects people who are given that label: how much harder they have to work than their white peers to gain the same recognition; the scrutiny that comes with fame and success; the pressures of being accepted by their community as they rise to mainstream renown. It’s a smart way to transcend the typical music documentary format, and is equally thought-provoking and entertaining.”—EG

On Hulu February 13.

“Eva Victor stars in, directs, and writes her impressive directorial debut, telling the story of a graduate student-turned-professor grappling with the aftermath of a traumatic event. Victor masterfully controls the film’s tone, balancing humor and vulnerability without it ever feeling starved or forced. The sharp, witty dialogue underscores her protagonist Agnes’s pain with a humility that feels like a warm familiar hug. It’s no surprise that this won the Waldo Salt Screenwriting Award: U.S. Dramatic. This is just the beginning for Victor, especially since A24 just bought the rights to the film.”—CJB

“There are superfans, and then there is Charles. A two-time lottery winner (yes, really—the lucky numbers are displayed in his mansion), the eccentric recluse decides to spend part of his prize money reuniting his favorite band ever: McGwyer Mortimer, an English folk duo and former couple (played by Tom Basden and Carey Mulligan) who ruled the early 2010s. The blindly optimistic Charles (Tim Key) invites them separately for an intimate gig on his remote island, Parent Trap-style. The only thing is: Herb McGwyer doesn’t know that Nell Mortimer is coming—with her husband. Charles is the funny yet sentimental heart of the film, cracking often improvised one-liners in every scene (he calls Herb ‘Dame Judy Drenched’ after he’s soaked from the waves) and still delivering gutting emotion. It honestly could’ve used more Carey Mulligan, but isn’t that every movie? The Ballad of Wallis Island is sweet and heartfelt with a John Carney feel, if at times overly saccharine, but it still works.”—EG

In theaters March 28.

“So, here’s the thing: Chris (Bowen Yang) and Min (Han Gi-chan) are in a loving relationship, but Min’s very rich Korean grandparents don’t know he’s gay. Meanwhile, Lee (a fantastic Lily Gladstone) and Angela (Kelly Marie Tran) are ready to become parents, but can’t afford another round of IVF. When Min is at risk of getting sent back home to Korea, he and the friend group devise a plan: He’ll fake-marry Angela so he can stay in the country, his family will continue to think he’s straight, and he can pay for Angela and Lee’s IVF. Sounds like a great plan until his grandmother (Minari’s Youn Yuh-jung) arrives, expecting a real wedding. In a play where everything could go wrong, Andrew Ahn’s new take on Ang Lee’s 1993 comedy feels so right. It’s a tribute to queer community and chosen family that will have you in stitches (Han is a hilarious surprise in his first English-speaking role) and in tears (Tran and Youn will break your heart). Thanks to its heartwarming love stories and fantastic ensemble (which also includes Joan Chen), Ahn was rightfully met with a standing ovation when he took the stage at Eccles Theater.”—EG

In theaters April 18.

“If The Substance were a dark rom-com, maybe this would be it. Alison Brie and Dave Franco co-star and -produce this wild, comedic body horror about a couple who take the next step in their relationship and try not to get under each other’s skin. Millie (Brie) and Tim (Franco) move out of the city and into a house in a woodsy suburb hours away, but something’s off. (Not that things weren’t already awkward; Tim turned down Millie’s proposal in front of all their friends, and her new co-worker seems to be making advances.) While exploring the trails around their home, an accidental detour leads Tim and Millie to be overcome by a dark force that takes over their bodies, interferes with their daily lives, and challenges their relationship. With jump scares, cults, and many references to The Thing, Michael Shanks’s feature debut is outrageous and gross, but downright entertaining—and even darkly romantic. Brie and Franco’s comedic and physical chemistry is on full display, too. If you thought long-term relationships were boring, Together, which was purchased by Neon, will prove otherwise.”—EG

In theaters August 1.

“Dylan O’Brien hive, we are SO back. Twinless follows two men who meet at a twin bereavement support group, but at its core, this film is one big trust fall exercise. Writer-director-actor James Sweeney delivers a sharp comedic voice that doesn’t shy away from the tender, heartfelt moments depicted through a codependent bromance. The narrative unfolds in (fucked up) ways that will have you cackling one minute and crying the next. If you leave feeling gaslit by this film, I think that’s the point. O’Brien is unsparingly great (and hot) in this, but Sweeney is not to be slept on. Twinless won Sundance’s U.S. Dramatic Special Jury Award for Acting (for O’Brien) and the Audience Award: U.S. Dramatic.”—CJB

“If director-producer Charlie Shackleton had obtained the rights to a certain nonfiction book about a certain serial killer, then he would’ve made the kind of true crime documentaries that have been steadily lining up Netflix, HBO, and Prime Video’s libraries in the past decade. But in the final negotiations, the deal fell through. So, in this inventive documentary, he walks us through what could’ve been—how he framed the story, the ‘emotional B-roll’ he would’ve used, and the actor reenactments he imagined—and skewers the modern true crime doc genre along the way. He calls out the stereotypes in these works, from the moody, overlapping graphics in the title sequences to shots of police tape that, once he points it out, appear to be in almost all of these projects, from Making a Murderer to The Jinx. He also addresses the ethical lines these filmmakers (including himself) toe by documenting and profiting off of someone else’s real-life tragedy and trauma. Does the work really benefit the greater good or just your own ego? Shackleton prods at the system while participating in it, which will make you see the genre in a new light.”—EG

“Josh O’Connor is Dusty, a cowboy who must begin again after he loses his family ranch—and, with it, his job—in a devastating fire. He and other displaced residents are put up in a trailer park by FEMA as they rebuild their lives, but Dusty distances himself from his neighbors (one of whom is played by True Detective’s Kali Reis) and is slow to accept the help he needs. As he reconnects with his ex-wife, Ruby (Meghann Fahy), and their daughter, Callie-Rose (Lily LaTorre), he opens himself up to his fellow refugees and soon learns that community is necessary for survival. O’Connor delivers a moving performance in a role that challenges the image of the lone cowboy. Max Walker-Silverman (A Love Song) explores what it means to honor your roots and plant new ones. Set amid sweeping shots of Colorado landscape, the film is not afraid to show how climate change affects those who make a living off the land.”—EG