Sundance Film Festival

Passing – first-look review

By Leila Latif

Ruth Negga and Tessa Thompson star in this slow-paced but perceptive race drama from Rebecca Hall.

The Sparks Brothers – first-look review

By Ed Gibbs

Edgar Wright delivers a deliciously infectious, suitably absurdist ode to his unsung musical heroes.

Superior – first-look review

By Brianna Zigler

Familiar thematic elements come together in Erin Vassilopoulos’ riff on the doppelgänger genre.

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.

Cryptozoo – first-look review

By Emily Maskell

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

On the Count of Three – first-look review

By Hannah Strong

Two best friends make a suicide pact in first-time feature director Jerrod Carmichael’s uneven black comedy.

Censor – first-look review

By Hannah Strong

A film censor becomes obsessed with unlocking the secrets of her sister’s disappearance in this stylish horror throwback.

The Pink Cloud – first-look review

By Caitlin Quinlan

There’s an eerie prescience to this alluring sci-fi chamber piece from Brazilian filmmaker Iuli Gerbase.

Human Factors – first-look review

By Brianna Zigler

An apparent break-in sends a middle-class family into a spiral in Ronny Trocker’s exacting drama.

Summer of Soul (…Or, When the Revolution Could Not Be Televised) – first-look review

By Leila Latif

Questlove’s triumphant directorial debut charts the cultural impact and legacy of the 1969 Harlem Cultural Festival.

Never Rarely Sometimes Always – first look review

By Hannah Strong

Beach Rats director Eliza Hittman offers an unflinching look at the troubling reality of reproductive rights in the US.

The best new documentaries from the 2020 Sundance Film Festival

By Ed Gibbs

This year’s Sundance docs explored political and personal vendettas so brazen, you couldn’t make them up.

Possessor – first look review

By Hannah Strong

Brandon Cronenberg sets late-capitalism in his crosshairs in this effective – and very gory – social horror.

The Nest – first look review

By Hannah Strong

Jude Law and Carrie Coon shine in Martha Marcy May Marlene director Sean Durkin’s eerie psychological thriller.

The Last Thing He Wanted – first look review

By Hannah Strong

Dee Rees and Anne Hathaway tackle Joan Didion’s novel of the same name, with disastrous results.

Wendy – first look review

By Ege Apaydın

The director of Beasts of the Southern Wild returns with a novel if underwhelming take on the Peter Pan fable.

Minari – first look review

By Hannah Strong

Lee Isaac Chung’s beautifully observed drama follows a South Korean family who relocate to rural Arkansas.

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Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. We believe in Truth & Movies.

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