The 2023 Sundance Film Festival has ended but the films will linger long after in my mind.
The 2023 Sundance Film Festival has come to a close and after the dust had settled, we managed to take in a staggering 30 features and 28 short films over the course of 10 days. Some great stuff in the mix. So many amazing cinematic sights to be seen, in fact, that we put together this epic recap article for your reading pleasure. Enjoy and don’t forget to share your thoughts in the message board below.
TOP 10 BEST OF FEST–
1. STILL: A MICHAEL J. FOX MOVIE
This candid film gets up close and personal with “Family Ties” star, Michael J. Fox. From his early days as a young actor to his breakthrough role as Alex P. Keaton to his beloved turn in the blockbuster “Back to the Future” trilogy, to his come-full-circle role on the hit show “Spin City,” Fox would become a household name in every sense of the term. And those aforementioned noteworthy titles would only scratch the surface where they would pertain to this entertainer’s success story. Of course, life has a tendency to throw us curveballs and for Fox, that unpredictable pitch would come in the form of a Parkinson’s diagnosis when the famed actor was only in his late 20s. He would conceal his illness until going public with it seven years later. From a technical standpoint, “Still” is to be commended for its skillful, clever, and altogether creative editing. The way editor Michael Harte cuts from well-executed recreations to clips from Fox’s films and tv shows (all set to Fox’s reflective voiceover), is simply masterful. While “Still: A Michael J. Fox Movie” is unflinching and honest in its hard look at Parkinson’s, this is far from a pity party. Fox, while still in quite the battle, is the eternal optimist, and as a documentary subject, he provides eye-opening insight and reflects on his life with absolute clarity. It should also be noted that this is a touching ode to family as well. All of these attributes make “Still: A Michael J. Fox Movie” the strongest film of Sundance 2023.
For the full review, click here.
2. IN MY MOTHER’S SKIN
A young girl must provide for her sickly mother circa World War II, but her judgment is compromised when she begins to put her trust in a supernatural presence that may or may not have her best interests at heart. This is a haunting, expertly crafted, and often disturbing Philippines-set fairytale that plays like a kindred spirit to the strongest works of the great Guillermo de Toro, most notably “ Pan’s Labyrinth.” Fueled by a stellar Felicity Kyle Napuli (Seriously…This is one of the best child performances I’ve seen in quite some time), this fusion of fantasy and hard-hitting reality is a rough (and sometimes blood-soaked) watch but for all the unsettling (and brutal) happenings, there is plenty of beauty to be found in Kenneth Dagatan’s darkly magical tale of family, war, greed, and navigating hopeless situations. It’s also a powerful story about that instantly relatable transition from childhood to adulthood.
3. THE DEEPEST BREATH
Documentaries were all the rage at Sundance 2023 and “The Deepest Breath” certainly sits alongside “Still: A Michael J. Fox Movie” as the best doc the festival had to offer. From director Laura McGann comes this breathtaking (literally), harrowing, and altogether intense deep dive into the extreme sport that is free diving. Specifically, the movie delves into the lives of Italian free diving record-breaker Alessia Zecchini and Irish diver-turned-trainer Stephen Keenan as they set out to pioneer a sport that finds its participants diving to extreme depths after only a single breath. “The Deepest Breath” is a tribute to these adventurous, risk-taking athletes to be sure but rather than taking the traditional documentary route, this film is cut more like an intense thriller/rousing sports movie. Not only was my heart pounding, but my hands were sweating profusely through large stretches of this film and even if you’re familiar with the story and know where it’s headed, you’re still likely to be instantly pulled in by this undeniably immersive experience. On a final note, it should be noted that to get the full effect, see “The Deepest Breath” on the biggest screen possible! It’ll certainly add to the tension and beauty of this outstanding documentary.
4. YOU HURT MY FEELINGS
Sundance veteran Nicole Holofcener (“Friends With Money”) returned to the 2023 festival with the character-driven comedy/drama, “You Hurt My Feelings.” In the film, the wonderful Julia Louis-Dreyfus is novelist, Beth, a woman at a professional crossroads who is emotionally knocked for a loop when she overhears her husband, Don (Tobias Menzies), sharing his true feelings on her latest work. Confused and upset by this seemingly out-of-leftfield opinion, Beth tries to process her feelings on the matter. “You Hurt My Feelings” takes what might otherwise be typical sitcom fodder, and rings truth and honesty out of it. What’s most endearing about the movie is the fashion in which it isn’t overly showy with its relatively high concept premise. What’s more Dreyfus is delightful here as is an understated Menzies as the world’s most unassuming, mild-mannered husband. Together, this pair prove to have terrific chemistry. Bonus points for an entertaining supporting cast for adding to the effectiveness of this truthful and charming take on communication and relationships.
5. TALK TO ME
This high-energy Aussie import should give the horror crowd just what they’re looking for in the form of a supernatural terror ride that sort of feels like “It Follows’ meets “The Monkey Paw” for the TikTok generation. While this movie does feature a few standard tropes and while it does tread some familiar ground in terms of the overall structure, Danny and Michael Philippou (sibling directors who are most known for their beloved RackaRacka YouTube content), bring the creep factor, scares, and gross-out moments in spades in a briskly-paced horror show that has franchise written all over it. At the heart of “Talk to Me” is Mia (a charismatic Sophia Wild), a lively young woman who, when she isn’t hanging out with her best friend, is always in search of that next big thrill. In this film, that “thrill” comes in the form of conjuring spirits and serving as a conduit. Of course, when Mia takes things a little too far, she and a group of friends get more than they bargained for. In addition to shades of the aforementioned “It Follows,” there are aspects of “Talk to Me” that might also remind some viewers of the likes of “Evil Dead, ”The Blair Witch Project,” “Final Destination,” “Flatliners,” “Hereditary,” and even “Ghost.” That said, this isn’t to say that “Talk to Me” doesn’t have its own identity. It certainly does and more often than not, it delivers the goods. Even more so if you’re into gross-out gags that involve toes and or a bulldog. Don’t say I didn’t warn you.
For the full review, click here!
6. A LITTLE PRAYER
From “Junebug” writer/director Angus MacLachlan comes this bittersweet southern slice of life charmer. David Strathairn (“Sneakers,” “Good Night, and Good Luck”) is simply superb as Bill, a quiet working-class man who simply wants to do right by everyone in his flawed family. Sometimes, he’s perceived as a meddler by other members of said family but it’s a testament to Strathairn’s talent as an actor that his ways come across as nothing less than sincere. Jane Levy (“Evil Dead,” “Don’t Breathe”) is equally effective as Tammy, Bill’s equally quiet and naive (or is she?) daughter-in-law. As was the case with “Junebug,” there’s something truly authentic at the heart of this movie. It asks us to observe these flawed characters and their motivations closely before we pass any kind of judgment and thanks to delicate direction and wonderful performances right across the board, “A Little Prayer” manages to be moving even when its characters do questionable things. And again, at the heart of it all are two outstanding lead performances in Strathairn and Levy. In particular, there’s a scene in the final act of this movie that is so utterly prophetic, poignant, and moving that it’s worth the price of admission alone.
7. RADICAL
In the grand tradition of inspirational classroom dramas like “Stand and Deliver” with a hint of the underdog stylings of “Summer School” (minus the broad humor) comes “Radical,” the accessible and thoughtful true story of teacher Sergio Juarez (wonderfully played by Eugenio Derbez) and his crusade to instill hope, optimism, and knowledge in the students of a grade school in an impoverished Matamoros. Does this movie offer up the familiar tropes we’re used to seeing in films of this nature? You bet. Does it matter? Not really. Why? Because aside from a sincere and altogether moving performance by Derbez, it’s extremely difficult to not be caught up in the emotionally-charged moments of this heartfelt story. “Radical” is an outstanding feel-good movie and thankfully, it manages to avoid phony sentimentality.
8. FLORA AND SON
Where does John Carney’s latest music-tinged charmer rank amongst his past efforts? Well, I wouldn’t say I liked it as much as “Once” or “Sing Street,” but it’s still incredibly entertaining. “Flora and Son” finds Flora (Eve Hewson of “Bad Sisters” fame), a feisty, headstrong Dublin-residing single mom, passing along a guitar she finds in a dumpster to her son, Max (Oren Kinlan), in the hopes that perhaps it’ll bring them closer together. Initially, it doesn’t so Flora decides to take up guitar lessons herself by way of hiring Jeff (Joseph Gordon-Levitt), an online American-based instructor whose aspirations of becoming a professional singer/songwriter have been put behind him. “Flora and Son” is a pretty darn likable movie and it’s fueled by Hewson’s charismatic, attitude-filled performance. She’s an absolute firecracker here. Together, Hewson and Levitt bring the sparks through terrific acting and a little movie magic. A few quibbles aside, I smiled a lot during “Flora and Son” and nearly every step of the way, Hewson is there carrying the movie on her more-than-capable shoulders in what could be best described as a star-making turn. And then there’s the gifted Carney whose likable spirit can be felt all over this thing.
For the full review, click here!
9. MAGAZINE DREAMS
I can sum up why I would recommend the rough ride that is “Magazine Dreams” in two simple words; Jonathan Majors! He’s simply next-level awesome here in a performance that recalls the character traits of Travis Bickle (“Taxi Driver”), Rupert Pupkin (“The King of Comedy”), and Arthur Fleck (“Joker.”) Truth be told, this is a very sad, very dark, very bitter movie about an individual who is unstable, vulnerable, insecure, confident, intense, hard-working, unhinged, terrifying, and heartbreaking in equal measure and writer/director Elijah Bynum really does put you in this character’s headspace. True, Bynum probably bites off a little more than he can chew here as “Magazine Dreams” does sometimes meander, going off into multiple directions but with themes of ambition, mental health, and what it takes to be the best, there’s no denying the propulsive energy that drives this movie (parts of it reminded me of “Whiplash.”). And once again, there’s no denying the magnetic screen-presence that is Jonathan Majors. There’s a reason he’s one of the more sought-after actors on the scene right now. It’s because he’s that good.
10. DIVINITY
“Divinity” is no easy movie to explain. It’s a strange, low-budget futuristic sci-fi concoction with the surreal tone of a David Lynch movie (most notably “Eraserhead” and “The Elephant Man”) mixed with the strange body horror/long live the new flesh sensibility of a David Cronenberg film (think “Videodrome” and “eXistenZ”) and the divisive, dirty/gritty vibe of Darren Aronofsky’s darker efforts (see “Pi” and “Requiem For a Dream.) This is probably the weirdest of all the films that I watched at the festival this year but it’s so wild and has such a swing-for-the-fences approach that I felt really compelled to give it a spot on this list. “Divinity” certainly isn’t a film for the masses but there’s no denying its uniqueness, particularly during a wild ride of final act battle that creatively mixes live action with stop motion animation. I freely admit that I don’t fully comprehend everything this movie is trying to say but it’s appropriately strange, fittingly hypnotic, and led by a zany but oddly effective Stephen Dorff performance.
ALL THE REST (ALPHABETICAL)–
A THOUSAND AND ONE
Taking place in 90s and 2000s Harlem, “A Thousand and One” is fueled by a fierce Teyana Taylor performance as a mother who will do just about anything to protect her son. This includes concealing a pretty big secret. In addition to a Taylor tour de force, this film also benefits from a solid turn by Josiah Cross as a young man who simply wants to make it in the world even though the deck often seems stacked against him. “A Thousand and One” is well directed by A.V. Rockwell who not only beautifully guides a terrific cast but also manages to capture a vibrant Harlem during this particular time frame. This was the winner of the Grand Jury Prize at this year’s festival.
THE ACCIDENTAL GETAWAY DRIVER
At the surface, the premise of “The Accidental Getaway Driver” sort of reads like Michael Mann’s expertly crafted crime/drama, “Collateral.” While there are certainly similarities, this movie is much more methodically paced. “The Accidental Getaway Driver” weaves its tale around the bond that develops between a criminal and the elderly Vietnamese cab driver he and his convict partners kidnap. Truth be told, there are a couple of moments in this character drama that fall a little bit flat but ultimately, it packs an emotional punch. Credit the film’s two lead actors here for bringing a real sense of authenticity to the proceedings. Their connection and the ending of this picture could have flown off the rails in the hands of lesser actors but they, and director Sing J. Lee, don’t allow that to happen.
ALIENS ABDUCTED MY PARENTS AND NOW I FEEL KIND OF LEFT OUT
In terms of the overall plot, It’s all right there in the title where it pertains to this well-intentioned throwback to the family-oriented youthful adventures of the 80s (see “The Last Starfighter” and “Flight of the Navigator.”) Truth be told, this movie is considerably more grounded than those movies. Additionally, this one also has the sweet-natured vibe of an “adjusting to life in a new small town” movie thrown in for good measure. That said, “Aliens Abducted My Parents and Now I Feel Kind of Left Out” lacks sufficient pacing and overall and it probably would have benefitted from a little bit more of the fantastical. Not bad by any means but a little on the dull side despite decent performances, including a surprisingly subtle Will Forte who, for the most part, plays the proceedings straight.
BIRTH/REBIRTH
Director/co-writer Laura Moss puts a contemporary spin on “Frankenstein” by way of this demented tale of a desperate mother who teams with a mad scientist/mortician in an attempt to reanimate the body of a young girl. Marin Ireland is outstanding as a kind of female Herbert West while Judy Reyes brings the drama as a mom who will do anything to save her child. There are certainly appropriately disturbing moments here and the movie isn’t without its thought-provoking elements but, “Birth/Rebirth lulls a bit in the midsection and it doesn’t quite stick the landing.
BLUEBACK
Exceptional cinematography and solid work from Mia Wasikowska, Radha Mitchell, Eric Bana, and Ariel Donoghue punctuate this often heavy-handed movie about a marine biologist attempting to reconnect with her estranged mother after she falls ill. Again, absolutely beautiful to look at but as a sea-centric movie about family and protecting the environment, I prefer the rousing nature of “Free Willy.”
GOING VARISTY IN MARIACHI
This hopeful and inspirational documentary from directors Sam Osborn and Alejandra Vasquez follows coach Abel Acuna and his musical students of Texas’s Edinburg North High School as they attempt to engage in mariachi competitions with schools that have substantially larger budgets. A crowd-pleasing doc with an underdog sports movie ring to it. Very entertaining.
INFINITY POOL
Brandon Cronenberg (he is certainly his father’s son) follows his perversely twisted “Possessor” with the equally perversely twisted “Infinity Pool.” Between his performance in last year’s “The Northman” and now “Infinity Pool,” Alexander Skarsgard has really been bringing it as of late. This thought-provoking film deals with, among other things, writer’s block, cloning, relationships, politics, wealth, and sex, and Skarsgaard is so good in this that I was willing to follow him along on this twisted journey even during moments that were quite a bit out there. Additionally, Mia Goth follows up her amazing turns in “X” and “Pearl” with another off-kilter but effective piece of work here. By the time the first half of “Infinity Pool” came to a close, I thought I knew where it was going. I was wrong. This is another one of those deep, provocative, political, sexually-charged horror shows that won’t be for everyone but it certainly kept me guessing.
IS THERE ANYBODY OUT THERE?
Ella Glendining not only serves as this documentary’s director but she also serves as its primary subject. Glendinning has a disability so rare that very little data on it even exists and throughout this film, she searches the world for others with similar disabilities in a movie that touches on everything from self-worth, to those things that make us uniquely us, to rights for the disabled. Further still, this doc is far more heartfelt and moving than the more cold and aggressive “I Didn’t See you there” which premiered at the 2022 Sundance Film Festival. I suppose I did question Glendining’s continuous drive to find others out there like he but as a father of a disabled child, I certainly found many aspects of this movie instantly relatable. In the end, “Is There Anybody Out There?” isn’t at the same level as something like “Crip Camp” but it’s still worth seeing.
LANDSCAPE WITH INVISIBLE HAND
This is an alien invasion movie but it features aliens of an entirely different ilk because the otherworldly creatures in this particular alien invasion movie don’t come here to assimilate us or to eat our faces off. No…The aliens in “Landscape With Invisible Hand,” are capitalists. That’s right…They’re here to make money. They’re also here to help mankind make money. At least, those with a little ambition. At the surface, the plot sounds a little like John Carpenter’s grossly underappreciated sci-fi/actioneer, “They Live,” but it’s not. No 9 ½ minute street brawl to speak of in “Landscape With Invisible Hand.” This is more of an offbeat, dry little comedy and for the most part, I enjoyed it. It’s quirky and the aliens themselves are fun. Props to Tiffany Haddish for playing against type, too. She can’t resist going into comedy mode on a couple of occasions but for the most part, she plays the proceedings straight. Not perfect but with its sci-fi bent, I preferred this one to both “Aliens Abducted My Parents and I Feel Kind of Left Out” and “The Pod Generation.”
LITTLE RICHARD: I AM EVERYTHING
This comprehensive documentary on Little Richard has a ton of energy and if you’re a fan of this doc’s iconic subject, you’re in for a good time. Amazing live footage and insightful interviews with the pioneering musician himself as well as several of those he influenced. And there are a lot of those people to speak of. A bigger-than-life doc about a bigger-than-life subject.
MY ANIMAL
“My Animal” follows teenage outcast Heather as she develops a bond with Jonny but, as you probably guessed, Heather has a secret. This werewolf-inspired lesbian love story has atmosphere to spare courtesy of director Jacqueline Castel, writer Jae Matthews, cinematographer Bryn McCashin, and composer Augustus Muller. I loved the tone, here, but the second half of this picture didn’t measure up to the first half. I like how the film treats Heather’s condition as a metaphor but similarly themed coming-of-ages horror/dramas like “Ginger Snaps” and “Bones and All” handled this kind of terrain in a stronger fashion. That said, the two leads are solid, and again, I dug the atmosphere.
ONYX THE FORTUITOUS AND THE TALISMAN OF SOULS
Andrew Bowser brings his beloved demon-worshiping YouTube persona, Onyx, to the big screen in this throwback to 80s horror staples like “Fright Night” and “House.” A little Onyx can go a long way and Bowser knows this so he smartly brings a cast of colorful supporting characters to carry some of the weight. He also wisely casts Jeffrey Combs (a cult movie fan-fave who rose to prominence by way of “Re-Animator”) as this movie’s big bad. He’s a lot of fun here. As for the film as a whole, you can feel the 80s love throughout, particularly in a first act that pays homage to everything from “Back to the Future” to “Better Off Dead,” but ultimately, “Onyx” isn’t quite able to sustain that goofy, manic energy throughout and at 10 minutes shy of the 2-hour mark, it does wear out its welcome a little bit by the end. In that regard, this movie reminded me a little of the Foo Fighters headlined horror/comedy, “Studio 666.” “Onyx” should have taken a cue from 2022’s “Deadstream,” another creepy house-set movie, one that benefitted from both a brisker running time and a more consistent horror-to-comedy ratio. On the other hand, it’s damn well near impossible to not laugh at a lot of this stuff. Bonus points for the creative practical creature effects work. This is definitely one that I’ll revisit.
THE PERSIAN VERSION
An often charming if a tad meandering mother/daughter story from writer/director Maryam Keshavarz. At the heart of the movie is a large Iranian-American family but the true focal point of “The Persian Version” is a somewhat estranged mother and daughter and how an exploration of the past helps them both realize that, despite their differences, they’re more alike then they sometimes care to admit. “The Persian Version” doesn’t always hit the mark but it has energy to spare and it’s filled with vibrant performances, particularly the two leads.
THE POD GENERATION
An accessible sci-fi/comedy/drama about a couple who opt to have an A.I. pregnancy instead of a natural birth. “The Pod Generation” is pretty precious and on the nose in its approach. The fashion in which the lead male character (played by the gifted Chiwetel Ejiofor) is able to emotionally and physically bond with his “unborn” child is cute but it all plays into a kind of high concept package that doesn’t really go anywhere entirely exciting. In fact, if I’m being completely honest, Ivan Reitman’s “Junior” took its high concept (that of a man actually conceiving) to a higher and more appropriately comedic and warm-hearted level. Ejiofor and Emilia Clarke (“Game of Thrones) are quite likable here and I was impressed by the production design, but “The Pod Generation” isn’t particularly thought-provoking aside from its interesting and somewhat surprising conclusion.
PRETTY BABY: BROOKE SHIELDS
This doc takes a look at the life and career of Brooke Shields. It’s a pretty eye-opening look at her rise to fame. As expected, “Pretty Baby” delves into the sexualization of children at a younger age and Shields was often at the center of this rightfully controversial practice having appeared in sexual-themed movies like “The Blue Lagoon,” “Endless Love,” and, of course, “Pretty Baby” when she was still in her pre and early teens. This is a detailed doc and while it is a tad on the long side, it’s pretty darn insightful and culminates in a thoughtful and intimate moment where Shields has a candid conversation with her own daughters and husband about the way things were versus the way they are now. Again, this one was a bit on the long side, but it’s certainly worthy of seeing for some of the important issues it addresses.
ROTTING IN THE SUN
Director Sebastian Silva made a big splash at Sundance several years ago with “The Maid” and in 2023, he returned with an often explicit, in-your-face slice of meta-esque queer cinema that serves as a mystery, a comedy, a look at mental health, and a glimpse into social class struggles. It’s also a bit of a satire on art itself. In “Rotting in the Sun,” Silva actually plays a version of himself; That of an independent filmmaker on the brink of an existential crisis. To keep his mental health in check, he takes a break by way of visiting a nude beach where he bonds with a well known American social media influencer (played by Jordan Firstman, who also appears as an alternate version of himself.) After plenty of recreational drug use and fornication, the mystery of the film is set into motion and that’s when the movie actually works best. It sort of plays like a riff on Hitchcock, as a housekeeper (Catalina Saavedra of “The Maid” fame) tries to hide quite the big secret. “Rotting in the Sun” is pretty aggressive and graphic in the sex department to the point that it often feels like it’s simply showing things just to show them and because of that, a lot of what truly works in the picture gets a bit buried under the extreme bawdiness of it all. Still, Silva and Saavedra are pretty good here as is Firstman who, when he’s not engaging in extreme amounts of excess, turns out to be quite the sleuth. Who knew?
RUN RABBIT RUN
This Australian import takes a cue from the likes of “The Babadook” in a story of a fertility doctor (played by Sarah Snook) who must confront a very dark past after she notices her daughter’s increasingly odd behavior. “Run Rabbit Run” is another in a long line of films that attempts to fuse trauma, family dysfunction, and the supernatural, and unfortunately, it doesn’t come close reaching the dramatic (or terrifying) heights of its superior contemporaries. Snook is fine and the movie isn’t without a couple of creepy moments but for the most part, there’s nothing particularly surprising about this overly patient psychological slice of horror. Ultimately, familiarity and the obvious, bog “Run Rabbit Run” down.
RYE LANE
An undeniably charming but imperfect little romantic comedy that sort of plays like “(500) Days of Summer” meets Richard Linklater’s “Before” trilogy. The film finds a pair of infectiously likeable twentysomethings (played by infectiously likable David Jonsson and Vivian Oparah), both reeling from breakups, connecting over a turbulent day in South London. “Rye Lane” has a vibrant energy about it that can be pretty irresistible but I guess my biggest problem with the film is that a little too much happens to them over the course of the day. I know…That seems like a petty gripe as I freely admit that there are plenty of “A day in the life of…” movies that I love but here, it just felt like a bit much at times. Truth be told, though, I really adore the leads in this movie and yes…By the end, I was smiling. It’s certainly a movie worth seeing.
A STILL SMALL VOICE
There was quite a bit of buzz surrounding this documentary at Sundance 2023 and while I find the subject matter interesting, the movie didn’t pull me in on an emotional level. In fact, it reminded me a bit of a moving short documentary I saw last year called “The Benevolents.” That film followed volunteers from all walks of life as they donate their spare time working at a mental health crisis hotline. This movie follows a chaplain-in-training as she engages in a yearlong residency in spiritual care. While her job description finds her dedicating her time to others it’s clear that she’s also doing a little soul searching of her own. There’s an intimacy and complexity at the heart of this film but overall, I found it to be a bit of a cold experience.
THEATER CAMP
Directors Molly Gordon and Nick Lieberman get their Christopher Guest on with “Theater Camp,” a mocumentary that takes aim at, you guessed it…Theater camp! The plot is pretty simple; A theater camp based in upstate New York is on the verge of closure after its founder (Amy Sedaris in a role that is far too brief) falls into an unexpected coma and it’s up to the teachers (led by Ben Platt and Gordon) and a bunch of youthful happy campers to put together a big show and raise enough money to save the day. The jokes come a fast clip here and I have zero doubt this movie will appeal to the live theater crowd in a very big way. I wish the second half of the picture was as consistently funny as the first half but the movie is still a lot of fun overall. Some very lively performances here including the likes of Platt, Gordon, and Jimmy Tatro. Further still, I enjoyed the self deprecating humor at the heart of “Theater Camp.” This isn’t quite at the same level of “Hamlet II,” “School of Rock,” or Christopher Guest’s best stuff but it’s still a worthy effort with a ton of laughs and several lively musical bits along the way.
BEST SHORT FILMS OF SUNDANCE 2023–
“Walk of Shame” image courtesy of the Sundance Institute
1. WALK OF SHAME
A quiet, understated little piece about an introverted, mourning widow in her early 50s who meets a man at a karaoke bar she’s convinced is wearing her late husband’s army jacket. I absolutely love lead Sharon Plumb in this. She’s so good. With that beautiful weathered face and that undeniable sense of hurting, I could truly feel her pain. Just a wonderful performance. And I greatly appreciated writer/director Dane Ray’s delicate hand. Again, this is a restrained piece made up of tiny nuances and I was really moved by it.
2. A FOLDED OCEAN
This tale of a couple that are simply into each other (literally!), isn’t for the faint at heart but in the end, “A Folded Ocean” is every bit as beautiful as it is unnerving. It’s a creative, mind-bending, unsettling, and all together mesmerizing take on body horror headlined by fearless leads Anabelle LeMieux and John Giacobbe as the loving but seemingly doomed couple in question. This is to say nothing of the memorable visual effects work in this movie. Writer/director Benjamin Brewer–who worked on the visual effects for 2022’s best film, “Everything Everywhere All at Once”–has fashioned quite the captivating short here… One that will play particularly well to the midnight crowd.
3. HELP ME UNDERSTAND
This film really took me by surprise. In the early moments, it feels as if it’s going to be a comedy about a handful of woman helping a CEO come to a general consensus on a cleaning detergent. And while it certainly does have very funny moments, “Help Me Understand” switches gears and becomes something much more poignant and meaningful than I was initially anticipating. Kudos to writer/director Aemilia Scott and her wonderful cast for a very moving take on “Twelve Angry Men” with an appropriate female-centric twist.
4. TAKE ME HOME
Big-time props to writer/director Liz Sargent for casting her own cognitively disabled sister, Anna, in this honest, heartfelt short about estranged sisters coming together after the untimely passing of their mother. The casting of Anna Sargent (she’s wonderful in the role) certainly brings a level of authenticity to the proceedings. I’ve seen variations of this story before (the underappreciated 80s gem, “Dominick and Eugene,” being one of my favorites) but no matter. It’s all about the execution and “Take Me Home” is thoughtful and well made.
5. I HAVE NO TEARS, AND I MUST CRY
Writer/director Luis Fernando Puente tells the story of a hopeful couple whose positivity and optimism temporarily come to a halt when their meeting for a green card at the immigration office takes an unexpected turn. “I Have No Tears, And I Must Cry” delves into a hot topic issue in quiet fashion and my favorite aspects of it are a moving, emotionally-charged performance by Alejandra Herrera and Oscar Ignacio Jimenez’s exceptional cinematography. As for Puente, he’s certainly a talent to keep your eye on.
Honorable Mention (Alphabetical);
CLAUDIO’S SONG
GARRANO
MARGIE SOUDEK’S SALT AND PEPPER SHAKERS
UNBORN BIRU
For more on the 2023 Sundance Film Festival, including a look at the list of award winners,
click here.
