The film, which premiered Thursday at Sundance, begins with a car accident occurring offscreen. Putting its darkly comedic tone on immediate display, we get the most jarring cut to a funeral since “Hereditary” and see Rocky is having to be the person everyone else gets support from, even as he has just lost his twin brother.

Left adrift and angry at the loss without any real way of processing it, Rocky begins to attend the aforementioned support group. It’s there we get the first of many great dark jokes and O’Brien makes each that much funnier through his reactions alone. That’s also when we meet Dennis (Sweeney) who is attending the group as well. The two bond over their loss with Rocky calling up his new bud at all hours to help him do menial tasks like going grocery shopping because he likes the company. They couldn’t be more different in sexuality and disposition — Rocky is bro-ish and a bit dim while Dennis is quick-witted and dryly funny — but they still begin to just be present for the other. We see this all unfolding from Rocky’s perspective as he clings to the relationship like a life raft in the hope that he can move forward.

But this is just the beginning. Once the title card drops unexpectedly late into the film, everything changes. Just when you think the movie is teetering on the edge of falling into repetition, or even worse, running out of steam, the perspective shifts to Dennis and Sweeney’s master plan clicks into place. It is not a spoiler to say that nothing is exactly what it seems, but the precise details of how this soon takes shape would be a crime to give away. What can be said is that both of these young men are about to find that their lives will be forever changed. As each goes about their days in the pointedly bustling yet isolating big city of Portland, we spend much of our time with Dennis as he is the one driving almost all the significant events and yet is increasingly having a hard time holding everything together. He despises his job, his coworkers, and much of his life. When he’s with Rocky, he seems more joyful. There is a sweetness to their interactions.

The film morphs into something else, and what fun Sweeney has contorting his characters into a whole host of hilarious, yet still uncomfortable, situations. It isn’t a mystery, as the audience is clued in quite early, though “Twinless” still gets plenty of mileage from watching certain characters begin to piece together what is happening. The film could be mistaken as cringe comedy, but it’s much more than that, and Sweeney never lets the film’s delightful twists overtake the emotion at the root of the movie.

On a formal level, there are also some fun uses of split screen that show the diverging paths of characters before they come back together again. Sweeney excels at marrying style with character.

When the film reaches its inevitable breaking point, the movie that started coming to mind most was the late, great Lynn Shelton’s Sundance classic “Humpday.” Even as “Twinless” is not quite as simultaneously audacious and thoughtful as that, the scenes in the confines of Seattle hotel rooms where the two men finally begin to open up to each other shares a similar unpredictable, intimate energy.

The film never gets bogged down in its more starkly depressing elements, with Sweeney remaining light on his comedic feet in everything from a goofy movie he has his character watch to a killer final gag involving the cover of a children’s book. But it also hits on something bittersweet in the last lines that provide a cathartic little button to the whole affair.

“Twinless” is a sales title at Sundance.  

Check out all our Sundance coverage here

The post ‘Twinless’ Review: Dylan O’Brien and James Sweeney Are a Great Duo in Delightfully Diabolical Dramedy appeared first on TheWrap.

“Jimpa,” the latest film from “Good Luck to You, Leo Grande” director Sophie Hyde, does this about as fully as one could ever hope to do. In a script Hyde wrote with her “52 Tuesdays” co-writer Matthew Cormack, we are taken fully into the world of Jim (aka Jimpa), played by John Lithgow, and his daughter Hannah, played by Olivia Colman, as they try to navigate their respective lives. Jim is a gay man who left Hannah and her mother when she was a child and she is now attempting to make a film about him while also raising her own child Frances (Aud Mason-Hyde), who is nonbinary.

As they all spend time together in the beauty of Amsterdam, the love they have for each other comes crashing into the lingering tension that Hannah has spent most of her adult life attempting to not just process, but speak openly about. 

The result is a film that’s not just incisive and compassionate, but fully attuned to the rhythms of this modern family. Conversations around queerness, polyamory and sexuality take place throughout in ways that embrace their complexity rather than shy away from them. In a world that seeks not just to repress such conversations but target those who have them, it is as refreshing as it is essential to see a film tackling them with such frankness.

As we hear them talk with radical openness about some things, Hyde pulls off a delicate balancing act where we come to see that there is also much that they are not yet fully able to talk through. It’s a film built around such conversations and our desire for connection that may be a little fragmented at times but cuts deep all the same.

Just as last year’s Sundance saw the excellent film “A Real Pain” capture the delicate relationship between two cousins, this one sees its own messy family trying to open up to each other and make sense of the pain they’re feeling before it’s all too late. It earns every emotion and then some, breaking the heart open with such breathtaking truthfulness that you get bowled over just before you land softly in its final frames. That it is also a film partly about its very construction only makes it all the more wonderfully rich to experience. 

Premiering Thursday at Sundance, “Jimpa” begins with Hannah and Frances talking about Jim. The former is doing so as part of a pitch about the film she wants to make about her father, and the latter is doing so for a class presentation. Both are earnestly passionate and clearly love him, though there is still a sense that we are hearing a possibly rosy portrait of the man. Critically, this earnestness must not be mistaken for complete honesty.

Instead, as Hyde gently teases out, we realize that Hannah in particular is invested in not expressing anger or even conflict about her father. This results in a humorous opening conversation about how all dramas must contain some element of conflict, but “Jimpa” doesn’t just use this for jokes. It is also flagging up to us that the film we are watching is about someone attempting to reckon with their past and the challenges of making art that can do full justice to this. That it does so within some of the familiar narrative beats of the family dramedy is part of its potency. Not only does Hyde remain aware of how the overly saccharine version of this film could go, she holds it up to the light in order to see all the ways the narratives we fall back on may actually be hiding critical parts of the lives we lead. 

You see, Jim is a flawed man as well as a caring one. He fought for the civil rights of others, speaking out after being diagnosed with AIDS even as the world was fighting him at every turn. And he has tried to continue doing so even in his older age. He is also egotistical, selfish and occasionally cruel, especially when he doesn’t always listen to others.

Lithgow, all tattooed up and often bearing his body in addition to his soul, is terrific at capturing all the seemingly contradictory yet completely authentic layers of the man. He is capable of turning a scene on its head with such withering charm and conviction that you go along with it until you realize just how hurtful he can be to the others around him. Alongside Colman, whose eyes contain entire worlds of tumultuous emotion in these scenes, we feel how it is the family has settled into this comfortable uncomfortableness. 

However, if there is a breakout star in the film, it is Aud Mason-Hyde. That they are the child of director Hyde only makes it all the more engaging as we can feel an extra sense of natural lived-in emotion in the way the scenes unfold. Even alongside heavy-hitters like Lithgow and Colman, it is remarkable how effortlessly Mason-Hyde holds their own. In many ways, their scenes are what bring everything out that the adults are looking away from. Even when there are some conversations amongst the older generation that can feel a little clunky in how they underline what they are saying, it is Mason-Hyde who brings us into the more complicated gray areas that are necessary to understanding what “Jimpa” is attempting to grapple with. For all the joy that Frances discovers in the city and the desire they have to move away from home in order to find community, we see in their eyes how life is not always so simple. When tragedy does inevitably arise, it makes the quiet and often unspoken details of their performance all the more impactful.  

As we see in the hands of cinematographer Matthew Chuang, who previously shot the gorgeous “You Won’t Be Alone,” the past and present are always crashing together. It is in these striking juxtapositions that the lives of all the characters come into greater focus. There is pain in how they are intercut into the present, but there is also a captivating quality to them that only cinema can provide. At times, it even recalls the shattering way director Barry Jenkins captured the various characters in his astounding adaptation “If Beale Street Could Talk.”

With that being said, there is still much that Hyde uncovers that she can call her own in her directing. The way moments will linger and intersect takes the breath away just as they never feel like they are overdone. It’s all one would hope a film like this to be: honest, bittersweet and true. In the end, whether Hannah the character is able to make her film, Hyde has done so herself in beautiful fashion.

The post ‘Jimpa’ Review: Olivia Colman and John Lithgow Soar in Beautiful, Bittersweet Drama appeared first on TheWrap.

“My goodness, that chair is gorgeous,” we hear via playful, often poetic, narration by Melanie Griffith before we cut to a sad little meal being shared by Camille, played by a fantastic and committed Juliette Lewis, plus her two friends. The voiceover shifts into being biting as the camera notably pulls away. Gone is Griffith’s effusive affection and in its place is a more oddly wistful sadness. 

In terms of all the memorable ways films have opened, this doesn’t sound like it would be that meaningful of a way to do so, but my goodness is it. It’s gleefully silly without overselling itself while laying the seeds for a humorous yet heartfelt juxtaposition between the life being led by Camille and the chair at the furniture showroom. If this sounds ridiculous, it’s just the wondrous beginning to the journey Kramer takes us on — one where Camille, after attempting to buy the chair, does the next best thing: become the furniture herself. Rather than serve as a shallowly classical body swap story that provides a moral lesson about her growing to appreciate the life she had, the aftermath of this decision is more thematically complicated and engaging. It’s also sincere, tapping into anxieties about being not just liked or even loved, but truly seen. 

You see, rather than despise her confinement, Camille’s lonely existence becomes infinitely better. The people around her love her far more when she is nothing but a chair. 

Premiering Thursday at Sundance, this is the first film Kramer has shown at the festival and it also feels like the one she’s spent her whole career building up to. Rather than compromise her ideas that she’s explored with spirited, if sometimes a little scattered, verve in past works, she deepens the emotions she’s tapping into just as she dives further and further into absurdity. Merging a somewhat similar visual style to “Please Baby Please” with the thorny introspective elements of the smaller-scale “Pity Me,” it’s not just her funniest film yet, but also her best. 

Set in only a handful of locations, all are shot with maximum creativity and an eye for whimsical compositions by cinematographer Patrick Meade Jones, who has worked on all of Kramer’s previous narrative features. As it traces the path Camille takes in her newfound existence as a chair, she discovers something oddly liberating in the change that is also not to last.

Initially, she is bought as a gift for Olivier, played by a magnificent Mamoudou Athie, who is living a lonely life of his own but also becomes infatuated with her in chair form. He takes her to a dinner party and must fight off the other attendees from getting their hands on her. The expressions that Athie makes in this scene and his repeated outbursts of “No!” are a riot, though the actor never descends into relying on one-note gags.

Instead, he takes part in a variety of eerie dance numbers, both with others that seem to come from his subconscious and by himself with Camille/the chair being rapidly cut between, as well as an uproarious sequence surrounding an awkward photo shoot being done for a magazine. It’s strange in an intentionally stilted fashion. Critically, the cast approaches their parts with the seriousness necessary to pull the cocktail of silliness and sincerity off. It will alienate some, but that’s also what makes it work. 

At the center of this is Lewis, whose every rhythmic line delivery, desperate expression, and eventual scream is operating on the precise wavelength that the film needs. It’s all ludicrous in snapshots, but the full picture that lurks underneath is one of discontentment. The film lays this out in both the narration that interjects throughout and the commitment that Lewis brings to the part. This includes her spending a significant portion of the film playing the chair as Camille, as the swap involves the furniture taking over her body, meaning she doesn’t move or speak. If this sounds like it’d distance you from her character, the opposite that ends up happening. Even as there is one darker scene in the middle that sends the film teetering a bit, it’s everything that surrounds it which proves to be unexpectedly yet richly saddening and silly to sort through. 

While she has never been one to shy away from what are often impenetrable narratives about troubled people struggling to connect, “By Design” is the one that brings it all together in the most potent package. The film’s final fleeting lines underline this perfectly, making it land with an unexpected gut punch as you get one last look at Camille, back alone all over again.

We feel all the pieces Kramer has been designing for us falling into place one last dreamlike and despairing time, echoing where we began in a lonely showroom with the spotlights coming down. All you need do is pull up a chair and take it all in.    

The post ‘By Design’ Review: Juliette Lewis and Mamoudou Athie Are a Joy in This Bold Body Swap Comedy appeared first on TheWrap.

Nearly all of her characters are shatteringly isolated, divided even in their faltering attempts at connection. But they are bound, at minimum, through a mystical deer created by a celebrated Chinese artist before he died. The deer sits at the center of a giant painting in a seedy Chongqing club, where strangers escape into virtual reality alone and together.

The club’s most popular VR world — called Luz, which means both “Light” and “Separation” — also involves the deer, who has to evade participants hunting it. Among the players is young camgirl Fa (En Xi Deng), whose livestreams are persistently interrupted by Wei (Xiao Dong Guo), a middle-aged man claiming to be her lost father. Since she won’t agree to meet him in real life, he has to learn how to seek her out in the game.

Meanwhile, the late artist’s lonely daughter, Ren (Sandrine Pinna), is in Hong Kong, until she gets a call that her former stepmother — her father’s equally creative ex-wife, Sabine (Isabelle Huppert) — is ailing. Somewhat reluctantly, she travels to France to help Sabine, only to be shocked when the patient wants no aid at all. Sabine’s plan, in fact, is to embrace life as wholeheartedly as she can, for as long as possible. Stubbornly refusing any attempts to curtail her active existence, she instead pulls Ren into the tactile delights of a Parisian artist: galleries and dances and gardens, music and food and adventures.

Lau (“Bends”) and her talented cinematographer, Benjamin Echazarreta (“A Fantastic Woman”), treat the screen like a canvas themselves, building layer upon layer to evoke multiple mediums. An electro-eerie score is the perfect match for Chongqing’s dark, neon-lit streets, which call to mind “Blade Runner” in their futuristic alienation.

But since “Luz” is, more than anything, a study in contrasts, Sabine’s Paris is as verdant and lush as Chongqing is stark and disaffected. The people we meet in her world are older and more engaged with their senses: individuals converse rather than text; pulsing techno gives way to sentimental French pop; the palate shifts from shades of black to vibrant color. As actors, Huppert and Pinna are both luminous. But while Sabine shines as if lit from within, Ren is dimmer, visibly lacking vitality even as her dynamic stepmother is the one living with a potentially fatal aneurism.

Because Lau is so intent on drawing distinctions between their ways of life, her script can occasionally feel black-and-white in its themes, too. And her artistic perspectives are idiosyncratic enough that we do notice when she lapses into clichéd terrain. Most of the time, though, she keeps us suspended in a state of awed anticipation. Even as her intentions are to nudge us back into real life, the images flickering on screen continue to hold us rapt.

The post ‘Luz’ Review: Flora Lau Conjures a Gorgeous Drama of Technology and Isolation appeared first on TheWrap.

As a PBS American Masters portrait designed to celebrate Matlin’s accomplishments, “Not Alone Anymore” can’t really be called a traditional documentary. Matlin chose first-time director Shoshannah Stern herself (they worked together on the Sundance Now series “This Close”), and the connection between them is evident. Though this obviously precludes a lack of neutral distance, it also opens up space for Matlin to share her story with unguarded intimacy.

And what a story it turns out to be. Matlin lost her hearing as a toddler — no one knew exactly why — and her parents took the traditional approach at the time: encouraging her to live, as much as possible, as though she hadn’t.

As a result, she had one foot in two worlds but her full self in neither. She felt left out in her family, and lacked the community that other kids found in Deaf spaces. There was one exception, though, and that was in the acting program at the International Center on Deafness and the Arts. Eventually, she was cast in Randa Haines’ film “Children of a Lesser God,” about a Deaf woman and the hearing teacher (William Hurt) who pushes her to speak.

Matlin opens up in “Not Alone Anymore” (as she did in her 2009 memoir, “I’ll Scream Later”) about her on- and off-screen relationships with her late co-star, Hurt. She was 19 and he was 35, and their two-year affair was marked by his repeated emotional and physical abuse. She was both the first Deaf performer to win an Oscar and the youngest woman to win Best Actress. But when we rewatch her historic night now, annotated by her own memories, it feels palpably different than it did at the time. Today, we notice her discomfort when she hesitantly takes the trophy from Hurt, and can see how young she really is as the media immediately drops public responsibility for the Deaf community onto her slim shoulders.

Many of Matlin’s recollections take place as she sits comfortably on her couch with Stern, who is also Deaf, the two of them signing in screen-captioned American Sign Language without an interpreter. Their non-mediated ASL is so seamlessly presented that it becomes one of several elements to drive home how essential representation really is. In both contemporary interviews and past clips, we see people talking about the doors Matlin opened for them as an actor and celebrity, an award winner and an outspoken advocate of Deaf rights. (There was no closed captioning on most movies or TV shows before her public push.)

Matlin is a thoughtful, funny and intense presence, and therefore a fantastic interview. But Stern also makes excellent use of her co-workers, family and friends — including Aaron Sorkin, an inspired choice to discuss the subtleties of language; her “CODA” co-star Troy Kotsur, who looked to Matlin when he became the second Deaf actor to earn an Oscar; and longtime friend Henry Winkler, whose unshakable support from her earliest years reinforces his status as a Hollywood hero.

Stern, who is seen crying on camera more than once, makes no attempt to achieve objectivity, nor does a project like this require it. This is, in fact, the sort of celebratory personal retrospective that is often created for people much older than Matlin (who is 59, and radiates with ageless energy). Much of the structure is unsurprising; interspersed with her stories and old media clips are a lot of admirers, who enthusiastically share the many ways in which she changed the world. But their case is strong, and the stories worth telling. It’s a testament to both Stern and her subject that we leave already anticipating the chapters still to come.

The post ‘Marlee Matlin: Not Alone Anymore’ Review: An Unguarded Portrait of a Groundbreaking Talent appeared first on TheWrap.

In the letter, filed on Tuesday, Participant said it was “shocked” to learn on Jan. 17 that Joseph — a filmmaker who contributed to Beyoncé’s “Lemonade” film — had worked on a different version of “BLKNWS” that was due to be screened at CAA without telling the company.

“Given that Mr. Joseph delivered the film to Participant in November 2024, and Participant submitted that version to Sundance in reliance that it was the final cut of the film, it is completely unacceptable that Mr. Joseph continued to purport to make changes to the film,” the letter says.

Participant alleges that Joseph submitted the new cut to both Sundance and Berlin, which will no longer be showing the film. The movie, which was written, directed and produced by Joseph, follows a West African curator and scholar whose magnum opus leads her to the heart of the Atlantic Ocean, drawing a journalist into a journey “that shatters her understanding of consciousness and time,” according to the official synopsis in the Sundance program.

Joseph did not immediately respond to TheWrap’s request for comment.

In a statement, Sundance said it was “deeply disappointed” to be informed by Participant that the film was being pulled from the festival, calling it “a radiant and immersive cinematic experience which we were looking forward to premiering for our audiences this Friday.”

The studio’s letter alleges that Joseph was required to submit a final cut of the film in June 2022, and that the delays – which they put on Joseph – caused A24 to drop out as co-financier and distributor.

It continues: “Participant cannot work with a director that it can no longer trust and who is actively working to circumvent Participant and to frustrate the planned and agreed debut of the film. Participant will therefore be pulling the film from the Sundance and Berlin film festivals and reserves all rights to seek recourse from Mr. Joseph and his related entities for their contractual breaches and wrongdoing.”

Participant, the studio behind films like “Spotlight” and “Green Book,” formally shuttered last April, but it owns the copyright to “BLKNWS” and currently exists as a holdings company for the studio’s library.

The post ‘BLKNWS: Terms & Conditions’ Pulled From Sundance and Berlin Over Director’s Alleged ‘Secret’ Cut appeared first on TheWrap.

Below, TheWrap rounded up some of the buzziest titles for sale at this year’s festival.

“Kiss of the Spider-Woman”

Valentín, a political prisoner, shares a cell with Molina, a window dresser convicted of public indecency. The two form an unlikely bond as Molina recounts the plot of a Hollywood musical starring his favorite silver screen diva, Ingrid Luna.

Directed by Bill Condon and starring Jennifer Lopez and Diego Luna.

REP: CAA/WME

“The Thing with Feathers”

Struggling to process the sudden and unexpected death of his wife, a young father loses his hold on reality as a seemingly malign presence begins to stalk him from the shadowy recesses of the apartment he shares with his two young sons.

Directed by Dylan Southern and starring Benedict Cumberbatch.

REP: 42 West

“Peter Hujar’s Day”

A recently discovered conversation between photographer Peter Hujar and his friend Linda Rosenkrantz in 1974 reveals a glimpse into New York City’s downtown art scene and the personal struggles and epiphanies that define an artist’s life.

Directed by Ira Sachs and starring Ben Wishaw.

REP: Jordan Drake

“Jimpa”

Hannah takes her nonbinary teenager, Frances, to Amsterdam to visit their gay grandfather, Jim – lovingly known as Jimpa. But Frances’ desire to stay abroad with Jimpa for a year means Hannah is forced to reconsider her beliefs about parenting and finally confront old stories about the past.

Directed by Sophie Hyde and starring Olivia Colman and John Lithgow.

REP: Protagonist Pictures

“Rebuilding”

After a wildfire takes the family farm, a rancher seeks a way forward.

Directed by Max Walker-Silverman and starring Josh O’Connor and Lily LaTorre.

REP: Cow Hip Films

“Rabbit Trap”

When a musician and her husband move to a remote house in Wales, the music they make disturbs local ancient folk magic, bringing a nameless child to their door who is intent on infiltrating their lives.

Directed by Bryn Chainey and starring Dev Patel.

REP: CAA, Bankside Films

“Atropia”

When an aspiring actress in a military role-playing facility falls in love with a soldier cast as an insurgent, their unsimulated emotions threaten to derail the performance.

Directed by Hailey Gates and starring Alia Shawkat and Callum Turner, produced by Luca Guadagnino.

REP: UTA/WME

“Ricky”

Newly released after being locked up in his teens, 30-year-old Ricky navigates the challenging realities of life post-incarceration, and the complexity of gaining independence for the first time as an adult.

Directed by Rashad Frett and starring Stephan James and Sheryl Lee Ralph.

REP: Sunshine Sachs

“Train Dreams”

Robert Grainier is a day laborer building America’s railroads at the start of the 20th century as he experiences profound love, shocking defeat, and a world irrevocably transforming before his very eyes.

Directed by Clint Bentley and starring Joel Edgerton and Felicity Jones.

REP: Black Bear Pictures

“Oh, Hi!”

Iris and Isaac’s first romantic weekend getaway goes awry.

Directed by Sophie Brooks and starring Molly Gordon and Logan Lerman.

REP: UTA

“The Perfect Neighbor”

A seemingly minor neighborhood dispute in Florida escalates into deadly violence. Police bodycam footage and investigative interviews expose the consequences of Florida’s “stand your ground” laws.

Directed by Geeta Gandbhir.

REP: Message Pics

“Love, Brooklyn”

Three longtime Brooklynites navigate careers, love, loss, and friendship against the rapidly changing landscape of their beloved city.

From first-time feature director Rachael Abigail Holder and starring André Holland and DeWanda Wise.

REP: CAA

“The Perfect Neighbor”

A seemingly minor neighborhood dispute in Florida escalates into deadly violence. Police bodycam footage and investigative interviews expose the consequences of Florida’s “stand your ground” laws.

Directed by Geeta Gandbhir.

REP: Message Pics

“Love, Brooklyn”

Three longtime Brooklynites navigate careers, love, loss, and friendship against the rapidly changing landscape of their beloved city.

From first-time feature director Rachael Abigail Holder and starring André Holland and DeWanda Wise.

REP: CAA

The post 12 of the Buzziest Movies for Sale at Sundance 2025, From ‘Kiss of the Spider Woman’ to ‘Rebuilding’ appeared first on TheWrap.

The annual gathering in Park City, which kicks off Thursday, arrives when both the physical and financial landscapes have dramatically shifted, with some filmmakers, actors and executives literally displaced from their homes while the broader market continues its drift away from the streaming-fueled bidding wars of recent years.

Adding to the challenges, the impact of the Los Angeles wildfires is palpable among industry figures headed to the festival. “I think going into Sundance, that provides people there with a bit of perspective,” Julien Levesque, an agent in Gersh’s film finance group, told TheWrap. “People are going to be at Sundance with a little bit of a renewed sense of purpose, and just that community feeling that we’ve been feeling in Los Angeles I think definitely will continue.”

Picturestart’s Erik Feig, who has been displaced from his Palisades home due to the fires, sees the festival as an opportunity for renewal. “What’s so great about Sundance, what I always love about it, is it’s the community of creativity,” Feig said. “It’s by far my favorite festival, because it’s such a festival of discoveries, more than Venice or Toronto. There are so many movies that you don’t really know anything about, and so many filmmakers who are brand new.”

The market dynamics at this year’s festival reflect an industry in transition. Every industry insider who spoke to TheWrap agreed that the days of all-night bidding wars are pretty much over, making way for a more measured sale process that can extend beyond the festival’s end date. Those seeking distribution are cautiously optimistic that buyers will be spreading around the love — and their bets — instead of plopping down big money for one or two films and leaving.

“I think that we’re in a positive direction in terms of the market,” Levesque said. “For several years we had these big booms in acquisitions, which was obviously very nice, but we’re returning, and we’re evolving as an industry, towards a more strategic and thoughtful acquisition market, and I’m positive Sundance will be a great place to have a lot of these great films that we can showcase and to get picked up.”

Topic Studios’ EVP of Film and Documentary Ryan Heller, who had great success last year with “A Real Pain,” the Kieran Culkin-starring drama that was snatched up by Searchlight for $10 million and is now considered a contender in awards season, echoed Levesque’s sentiment that the sales process is now more diversified.

“There are more buyers playing more distinct games from one another,” he said, noting that there are pure streaming buyers, pure theatrical buyers and some who are a hybrid of both, each with their own windowing strategy. “What that means for us as sellers is that you can have the same movie and five buyers with varied ideas about release timing, how to reach an audience [and] who the audience is.”

Heller, who has two documentaries in the festival this year in “It’s Never Over, Jeff Buckley” and “FOLKTALES,” described the relatively new experience as both exciting and more complicated, since it depends on what the sellers feel is the best path for the movie.

The biggest sales at last year’s festival were largely marked by either big stars or genre fare, but none of them made a huge splash at the box office: There was “A Real Pain” ($12 million gross), Magnolia snatched the June Squibb actioner “Thelma” for an undisclosed sum ($12.6 million gross) and Amazon MGM Studios picked up the Aubrey Plaza-starring coming-of-age film “My Old Ass” for $15 million ($5.7 million gross before streaming on Prime Video). Netflix also plopped down $17 million for the body-swap horror movie “It’s What’s Inside” and an undisclosed amount for the Will Ferrell documentary “Will & Harper.”

This year’s lineup is more muted, with fewer films featuring big stars and only a couple from established filmmakers. That said, two of the buzziest acquisition titles are the Jennifer Lopez-fronted “Kiss of the Spider Woman” from director Bill Condon and the Benedict Cumberbatch grief drama “The Thing With Feathers.”

What impact that dynamic will have on the market is unclear, but Republic Pictures president and chief content licensing officer Dan Cohen, who is bringing the Dylan O’Brien film “Twinless” to the festival, acknowledged this year’s lineup feels “pretty indie.”

Levesque added: “I feel that there’s not going to be huge bidding wars, but I do feel that there will be deals made and there will be opportunities for these films to be seen.” That of course includes streamers — Apple picked up “CODA” for $25 million in 2021 and won the Oscar for Best Picture, Hulu and Neon paid $17.5 million for the Andy Samberg comedy “Palm Springs” in 2020 and Netflix has been a constant presence at the festival over the last several years.

“Streamers are very well educated. They know their market, they know their audience, they know the consumer,” Feig said. “They know what works on their platform. They know what doesn’t.”

But the overall state of independent film remains complex. “I think why buyers go to Sundance is to be surprised,” Heller said, tempering expectations about big sales. “It’s less about the tempo of the market or how quickly things sell, and it’s really about the long game on every title.”

As Feig puts it, “In independent film, as in so many other areas about media and the economy at large, it’s feast or famine. You either really work or you really don’t work.”

That extends to the documentary community, which has been struggling in recent years. Amplify Pictures founder Joe Lewis and head of documentary Lauren Haber have “Pamela, A Love Story” director Ryan White’s new film “Come See Me in the Good Light,” about poet and LGBTQ activist Andrea Gibson, at this year’s festival. But as veterans of the documentary space, they acknowledged a changed environment, one in which they strive to combine passion with commercial prospects.

“We’re honest about the state of the industry,” Lewis said, noting that the current documentary market favors films about sports, music, true crime or celebrity. “How do we make something that’s elevated and smart and has great filmmaking but is also commercial?” The “Fleabag” and “Transparent” producer said they focus on serious subjects “but done in a fun way,” while noting they don’t run after every trend. “If we wanted to chase what was commercial, we’d do a lot more true crime.”

Haber, who worked on the acclaimed documentary “Sugarcane” that premiered at Sundance last year and is firmly in the Oscar race, pointed out that many documentaries shortlisted for this year’s Oscars struggled to find U.S. distribution. “I do feel like there’s a disconnect there that I hope is so obvious right now, that it’s being recognized, and that it will start to move in a different direction,” she said of critically acclaimed docs failing to find a distributor.

Of course, coming out of the dual strikes and overall contraction in Hollywood, narrative indie film is not immune to constraints either.

“I think the industry as a whole is evolving, and indie film as a whole is evolving to exist in this new marketplace. So I feel good about the state of indie film,” Levesque said. “I think that there’s inherently going to be a latent period between what the market is selling and what the producers and financiers are making.”

He added: “And we’ve had this big slowdown in acquisition. We had a big slowdown in production. A lot of producers and financiers have had to kind of structure how they build their budget in a much more thoughtful way that allows for a film to be successful.”

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Directed by Kevin Macdonald (“The Last King of Scotland”), the film chronicles the 18 months that John Lennon and Yoko Ono spent living in Greenwich Village in the early 1970s, with never-before-seen material and newly restored footage of Lennon’s only full-length post-Beatles concert. Sean Ono Lennon, their son, oversaw the audio remaster and the film previously played at the Venice and Telluride film festivals.

Magnolia will open the film exclusively in Imax on April 11 before expanding to additional theaters. The film will air on HBO and will be available to stream on Max in late 2025. 

“’One to One: John & Yoko’ is a revelation,” Magnolia Pictures co-CEOs Eamonn Bowles and Dori Begley said in a Tuesday statement. “Kevin Macdonald has given us an incredibly fresh, marvelously human and revealing look at the iconic couple.”

“I am personally thrilled to be back with the Magnolia and HBO teams to be giving ‘One to One: John & Yoko’ the ambitious theatrical release that I always dreamed of for this film,” Macdonald added. “This is a movie about music and love and politics — and about immersing yourself in the year of 1972 — a period in time that feels uncannily like the world we are currently inhabiting. And more than anything else, I’m grateful to Sean Lennon and Mercury Studios for entrusting the incredible One to One concert to me.”

“One to One: John & Yoko” was edited and co-directed by Sam Rice-Edwards. It was produced by Peter Worsley, Alice Webb and Macdonald, with EPs Marc Robinson, David Joseph, Steve Condie, Brad Pitt, Dede Gardner and Jeremy Kleiner.

The deal was negotiated by Magnolia SVP of Acquisitions John Von Thaden, with Cinetic on behalf of the filmmakers.

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Erivo, who currently stars as Elphaba in “Wicked,” will receive the Visionary Award for her “uncompromising work and notable contributions to the entertainment industry.”

Mangold, who directed the upcoming Bob Dylan biopic “A Complete Unknown” that stars Timothée Chalamet, will receive the Trailblazer Award in recognition for his “unwavering dedication and notable contributions to the field of cinema.”

“Receiving the Visionary Award is an honor that fills me with immense gratitude,” Erivo said in a statement. “Sundance has always been a sanctuary for bold voices and transformative narratives, and to be a part of and recognized by this incredible community is deeply meaningful. Storytelling is the foundation of my work, and it’s a privilege to celebrate this art form alongside so many extraordinary creators. This recognition inspires me to continue championing bold, diverse stories that connect, challenge, and uplift us all.”

“Sundance has been many things in my life; a far away dream on a mountain, a laboratory at which I developed the script for Cop Land, a festival at which I debuted Heavy, my first feature, and later, a place I have proudly mentored talented young filmmakers,” Mangold said in a statement. “I am floored and flattered that Sundance thought my body of work was worthy of this honor.”

Added Amanda Kelso, acting CEO of the Sundance Institute, whose statement reads in part: “James Mangold and Cynthia Erivo embody the very essence of creativity and impact within the arts…. We are thrilled to honor James with the Trailblazer Award and Cynthia with the Visionary Award, celebrating their extraordinary achievements and the powerful stories they continue to bring to life.”

Erivo and Mangold join previously announced honoree Michelle Satter, founding senior director of artist programs at Sundance Institute, who will be recognized for her commitment to nurturing artists and cultivating independent film through Sundance Labs for the past four decades.

Dìdi writer-director Sean Wang and Sugarcane co-directors Julian Brave NoiseCat and Emily Kassie will also be given the Vanguard Awards, as previously announced. Both of their films premiered at the 2024 Sundance Film Festival.

The gala celebration will be held at the Grand Hyatt Deer Valley in Park City, Utah, and is co-chaired by board chair Ebs Burnough and board trustee Pat Mitchell. The gala aims to raise funds for the Sundance Institute to continue to support independent artists through labs, grants and public programming for artists from all over the world.

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