Sundance Film Festival | Little White Lies

Sundance Film Festival

Closed eyes and face of golden figure surrounded by glowing aura and wires
Festivals

All Light, Everywhere – first look review

by Hannah Strong

Rat Film direc­tor Theo Antho­ny delves deep into the myr­i­ad eth­i­cal quan­daries con­cern­ing mass surveillance.
Back view of person standing in front of a wall covered in pinned photographs, papers, and artwork.
Festivals

Misha and the Wolves – first-look review

by Hannah Strong

The truth proves far stranger than the fic­tion in this con­stant­ly sur­pris­ing Holo­caust chronicle.
A man with a beard, eyes closed, framed by translucent, flowing material.
Festivals

‘For some people, simulation theory is not a joke’ – Rodney Ascher on A Glitch in the Matrix

by Isaac Feldberg

The doc­u­men­tary mak­er on the deep exis­ten­tial con­cerns at the heart of his lat­est project.
A man with a beard and a woman in a room, facing each other intently.
Festivals

Mass – first-look review

by Hannah Strong

The after­math of a school shoot­ing is the focus of first-time direc­tor Fran Kranz’s stark por­trait of famil­ial grief.
Silhouette of a person holding an axe, standing in misty forest.
Festivals

In the Earth – first-look review

by Hannah Strong

Ben Wheatley’s pan­dem­ic-themed psy­che­del­ic fever dream is the love child of Kill List and A Field in England.
Two women in winter clothing, one holding a basket, walking on a city street. Black and white image with a vintage aesthetic.
Festivals

Passing – first-look review

by Leila Latif

Ruth Neg­ga and Tes­sa Thomp­son star in this slow-paced but per­cep­tive race dra­ma from Rebec­ca Hall.
Two men in dark clothing peer through window frames made of white curtains.
Festivals

The Sparks Brothers – first-look review

by Ed Gibbs

Edgar Wright deliv­ers a deli­cious­ly infec­tious, suit­ably absur­dist ode to his unsung musi­cal heroes.
Two women in red dresses, one sitting at a vanity mirror applying makeup.
Festivals

Superior – first-look review

by Brianna Zigler

Famil­iar the­mat­ic ele­ments come togeth­er in Erin Vas­silopou­los’ riff on the dop­pel­gänger genre.
Three young women, one in a fringe-trimmed blouse, standing in front of a brick wall.
Festivals

How It Ends – first-look review

by Caitlin Quinlan

There’s shades of Miran­da July in Zoe Lis­ter-Jones and Daryl Wein’s dead­pan end-of-the-world comedy.
Vibrant illustration depicting the upcoming opening of Cryptozoo, a fantastical theme park featuring various mythical creatures. The image showcases a central entrance area with a "Opening Soon" banner, surrounded by intricate panel designs showcasing different cryptid figures. The overall scene is set against a backdrop of a lush, forested landscape.
Festivals

Cryptozoo – first-look review

by Emily Maskell

Dash Shaw’s entranc­ing ani­mat­ed fable imag­ines a utopia filled with a daz­zling array of myth­ic creatures.