Sundance’s decision to screen Michael Ritchie’s 1969 masterpiece as a tribute to Robert Redford—the festival’s founder, who passed away in September 2025—transformed a repertory showing into ceremony. Watching Downhill Racer in Park City, surrounded by…
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Edward Lovelace and James Hall follow Courtney Love in London since 2019. The film presents something rarely found in celebrity documentation: genuine uncertainty. Neither hagiography nor excavation, this is a document of a woman negotiating…
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Macon Blair's The Shitheads announces itself with title and intent: this is cinema willing to treat failure and the criminal underclasses with the same attention cinema usually reserves for the ambitious. Dave Franco and O'Shea…
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Cathy Yan tries to build a satire of the art world around a Miami gallery owner. Natalie Portman plays Diane, a woman whose taste has been compromised by necessity. The setup has potential. Yan has…
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THUNDERLIPS is Sean Wallace and Jordan Mark Windsor. Mum, I’m Alien Pregnant is their film about two isolated people who have sex and something extraterrestrial happens. It sounds silly. It is. But underneath the body…
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Adam Meeks filmed inside Ohio's recovery courts, mixing actors with real people who actually appeared in those rooms. The result is a film about addiction that doesn't traffic in redemption. Recovery here is provisional, fragile—one…
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Louis Paxton's The Incomer is a film about the violence of bureaucracy and what happens to human development when isolation is absolute. Set on a remote Scottish island, it begins with a premise that could…
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Josephine Decker's Chasing Summer is a film at war with itself. Decker wants to make something bleak and formally risky. Iliza Shlesinger's script wants to make people laugh. The two impulses never quite align, and…
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Amir Bar-Lev documents the first winter ascent of K2 (2020-2021) and creates a film that's less about reaching the summit than about what happens to mountaineering when every moment becomes content. Between the climbing sequences,…
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