The 2025 Sundance Film Festival wrapped up its virtual run late Sunday evening 2/2/2025, thus concluding the festival run. I had a lofty goal of getting to at least 60+ film between on the ground and virtual, and was unfortunately stifled by a really nasty virus I picked up in Park City. I shorted up some of my in person days due to illness, and returned home basically bedridden with barely a mind alert enough to pay attention to cinema. Sundance also had some issues with online leaks for some films, causing them to remove the films from their virtual portal swiftly and immediately.
Despite these set backs, I was able to watch 52 Sundance films, which is still a pretty hefty undertaking and a big number to be proud of. Let’s take a lot at the best of the fest and highlight 10 films I saw that felt were the best Sundance had to offer!
10. “The Things You Kill“
I was actually on the fence after my initial screening of “The Things You Kill.” Deeply layered thematically and constructed in a way that doesn’t explain its twists to the audience, the audacious choices left me more confused than celebratory. But “The Things You Kill” continued to live rent free in my brain, festering with a need to understand and meet the film on its own terms. After some discussion with some peers I have come around positively on it. The film is a quiet family drama/crime thriller that patiently explores its characters in some profound ways and utilizes some clever framing devices to draw the audience in and mess around with their minds. Perception and reality blur in “The Things You Kill,” and we are left one step ahead and one step behind as things unfold. There’s some really powerful stuff going on here, and I look forward to seeing it again with the puzzle complete.
9. “Plainclothes“
Another patient thriller about self acceptance and blurred lines, “Plainclothes” is a visually bold examination of repression and desire that also messes with time and space to at first confuse then reward the audience. Powered by an incredible performance by Tom Blyth (“A Ballad of Songbirds and Snakes“), “Plainclothes” contains one of the best thirds acts of the entire festival. The amount of films that are undone by their conclusions is high, so its refreshing when one really sticks the landing like this one. It is incredibly stylish and engrossing, splicing in VHS home and security footage as ways to expand the story and dig deeper into the characters. There’s a regressive visual quality painted over a story of one man’s regression into himself, and the themes of “Plainclothes” are made stronger through these unique choices. It’s a bit of a vibes pick as some of the manic editing and purposeful chaos may detract some viewers and dismiss “Plainclothes” as style over substance, but I found myself wholly invested and completely drawn in to everything the film is trying to do.
8. “The Ballad of Wallis Island“
Sometimes we need some good old fashioned comfort cinema, and “The Ballad of Wallis Island” is classic warm blanket cinema. A taut, small cast chamber piece packed with quirky characters, absurdist humor and the biggest heart you’ll see all year, “Wallis Island” is the perfect little film to make your heart sing. Tim Key steals the show as an awkward, lonely lottery winner, and delivers some of the best laugh out loud and heartfelt moments of the film. Sure, “Wallis Island” exists almost entirely inside predictability and formula, but neither detract from its sweet center and overwhelming charm. Fans of John Carney will certainly be won over by this film that takes a majority of his music driven strengths with very few of its weaknesses. Sure, “The Ballad of Wallis Island” is a simple story and often feels like it could go deeper into its characters and dynamics, but in the end it so sweet and endearing and charming that any misgivings wash away with the island tides. Of all the films I saw at Sundance, “The Ballad of Wallis Island” is the one I would recommend to the most people.
7. “The Ugly Stepsister“
The grimmest of Grimm’s fairytales, “The Ugly Stepsister” brutally reimagines the classic “Cinderella” story from the perspective of the stepsister, and boy oh boy does it keep the most grotesque and macabre parts of the original tale in tact. Basking in the success of “The Substance,” this body horror tale of impossible beauty standards and gruesome lengths women will go to be loved for their outer beauty pulls no punches, and thrives in the new boundaries set by its predecessors. Emilie Kristine Blichfeldt directs her dark tale with all the confidence of a seasoned veteran, wholly in control of the chaos that ensues in the horrific pursuit of beauty, and Lea Mathilde Skar-Myren as Elvira is up to the task laid upon her. Her desperation and obsession is on full display, and the consequences of her actions come full circle as the price for perfection is high. “The Ugly Stepsister” has it all for even the most depraved body horror fans; steam punk medieval cosmetic surgeries, coked out doctors performing said surgeries, bone crunching body mutilation, and yes, the most disgusting tape worm ever put to film. Horror heads rise up, “The Ugly Stepsister” is here to satisfy the depraved and its delightfully gross in the best of ways.
6. “Oh, Hi!“
I’m on an island for this one, but “Oh, Hi!” and all of its contrived absurdity worked for me. It’s the kind of film that starts out innocent enough and transforms into something that really requires a suspension of disbelief on the part of audience. If you’re willing to go where it wants to go, “Oh, Hi!” is a laugh out loud examination of modern dating and a situationship gone wrong. It strives to relay the importance of communication while satirizing the constructs of the emotionally unavailable “Soft boy” and the “Crazy girl,” sprinkling in some friends with the worst advice for good measure. Molly Gordon and Logan Lerman are excellent together, not only possessing romantic chemistry but also comedic chemistry as well. Writer/director Sophie Brooks certainly has a lot to say about her subjects, and while “Oh, Hi!” can easily be grating to some, I found Brooks’ commentary wholly engaging and purposefully silly. The film is wildly entertaining, packed with outrageous humor, solid performances and a sort of modern “Misery” in a series of unfortunate misunderstandings. “Oh, Hi!” really worked for me and I highly recommend it!
5. “Lurker“
Another island, “Lurker” completely won me over by delivering on everything I hoped it would. On the surface, it’s a standard story of obsession gone awry and pursuit of being under the warm embrace of celebrity and status. While it functions similarly to many of the films that came before it, “Lurker” separates itself by placing us in the perspective of the obsessed pursuer rather than the pursued. Writer/director Alex Russell makes the audience complicit in the actions of Matthew (played by an unnerving Théodore Pellerin) who goes to greater and greater lengths to stay in the immediate circle of Oliver (another unsung performance from Archie Madekwe) a rising artist in the music scene. The things Matthew does in “Lurker” ropes the audience in as an accomplice, never hiding any of his misdeeds to achieve his goal. There’s no twist reveal of who’s doing what; we see everything through the perpetrators eyes, forcing us to engage with what it takes to be welcomed into the spotlight. “Lurker” is unsettling, unnerving and funny, building on the foundations laid by previous iterations to deliver a unique experience you won’t soon forget.
4. “Together“
I know I keep bringing up “The Substance,” but it really walked so films like “Together” could run. It is by far and way the best of the Midnighters at Sundance, redeeming the slate from a lackluster showing and injecting the kind of word of mouth praise that typically comes from the late night slate. “Together” was by far and way the most fun I had at Sundance, and easily the best film to watch with a sold out crowd. The film stars real life couple Allison Brie (“GLOW,” the upcoming “He-Man and the Masters of the Universe“) and Dave Franco as a toxic co-dependent couple at the end of their rope together. After an unexplained encounter with a supernatural entity, their relationship will be tested in ways they never could’ve imagined, manifesting in body horror attachments that is sure to gross out even the most depraved movie goer. Bursting with practical effects, humor and a haunting atmosphere, “Together” is easily one of the best films of the entire festival. Wholly self aware and unrestrained, “Together” restored faith in the Midnight line up and is sure to be one of the most crowd pleasing films to come out of Sundance this year.
3. “Twinless“
The film that caused entitled fuckwads to singlehandedly ruin virtual Sundance because they can’t help themselves and posted clips on the internet, “Twinless” absolutely floored me. Dylan O’Brien gives a statement performance, soidifying himself as a fearless performer capable of so much more than the typecast pretty boy. Writer/Director/star James Sweeney’s script feels fresh and effecting, packed with razor sharp humor and overwhelming emotion. The films “Twinless” reminds me of would actually give away some major plot points, but I’d argue is does most of them better than the inspiration. It is undoubtedly one of best films out of the festival, and will easily be on of the most talked about films upon its inevitable release later this year. I’ve already said a lot about “Twinless” so I’ll keep this brief; it’s a must see not just for how good O’Brien is, but for everything the film is trying to do. I am so glad I saw this film in theaters, and I really hope you get a chance to see it in theaters too.
2. “Sorry, Baby“
“Sorry, Baby” is why Sundance exists. A new unheard voice in cinema emerges and delivers one of the best breakouts of the year. No distributor, no major studio endorsement or push, not even a premiere as a marquee release. Just a quiet directorial debut that feels like the discovery on the decade, “Sorry, Baby” exploded onto the Sundance scene and became a huge favorite on its own terms. Writer/director/star Eva Victor creates something truly special, a near perfect balance of trauma and humor and emotion with a unique voice that feels both timeless and timely. “Sorry, Baby” is the kind of debut that demands you start buying stock in Victor early, because she has all the makings of an awards contender 3 or 4 films down the road. The film’s direction and script is THAT assured, with Victor able to convey her voice through her performance that feels like she’s been a movie star for decades. “Sorry, Baby” is the biggest surprise of the festival, the true beloved discovery that keeps you coming back to Sundance in hopes to find this kind of film every year. A24 is the perfect home for “Sorry, Baby,” and don’t be surprised if it starts showing up on awards radars and best of lists later this year. It is truly THAT good.
1. “All That’s Left of You“
Everyone can go home, the Best International Feature winner has arrived. “All That’s Left You” is pure cinema, an overwhelming journey through 80 years of generational trauma and its effects on each generation of a Palestinian family. it never feels miserable even if its feels frustrating, its expertly crafted cinematic experience immersing you into the family and their struggle without ever feeling like it wants to drown you in it. “All That’s Left You” is near perfect, from its epic scale and scope to its powerful score to its dazzling visuals and beautiful performances. I was blown away from the start and wholly gripped by its emotional story. This is filmmaking excellence from top to bottom, invoking constant emotion and investment while sacrificing nothing. If there is one film that cannot be missed this year, it’s “All That’s Left of You.” It felt like a cinematic event, one that made the trip to Park City worth it and resonating experience I won’t soon forget. I’m calling it now, “All That’s Left of You” wins Best International Feature in 2026. I know it’s early, but I just don’t see a better film coming out this year. It is THAT good and you should drop everything to see it as soon as you get a chance.
Those are my top 10 feature films from Sundance!
