The Plan Was That The Country’s

 This year’s Sundance Film Festival was always supposed to have a virtual component, but until the first week of 2022, the plan was that the country’s premiere showcase for indies would be happening in person, in Park City, UT, the way it used to. Then the omicron variant put a stop to that, and to all other upcoming events hoping for a return to something closer to normalcy. The good news is that the Sundance slate is accessible to everyone with the means to buy tickets, and the slate is filled with riches — from horror stories with racial undertones to comedies about working bar mitzvahs, documentaries about volcanologists in love and Kanye West, and directorial debuts from familiar figures like Jesse Eisenberg, as well as a slew of new creative voices. Here are 6 movies to look forward to at this year’s festival.


Sharp Stick


Sharp Stick is Lena Dunham’s first movie since her 2010 Sundance hit Tiny Furniture, meaning it’s bound to generate a lively conversation (if not some light controversy, as is so often the case with Dunham’s work). In the classic Dunhamian tradition, the film follows a “young woman’s path to self-discovery” — namely that of 26-year-old Sarah Jo, a caregiver in Los Angeles who embarks upon a “doomed” affair with one of her clients’ fathers and then “dedicates herself to unlocking every aspect of the sexual experience” in the wake of their breakup. The cast is just as intriguing as that synopsis: Zola’s Taylour Paige, Jennifer Jason Leigh, Tommy Dorfman, Scott Speedman, and Dunham herself. — Rachel Handler


jeen-yuhs: A Kanye Trilogy


More than two decades into his run as hip-hop’s most trailblazing rapper-producer, audiences have seen many facets of Kanye West: hitmaker, firebrand, tabloid fixture, fashion designer, bipolar disorder sufferer, presidential candidate. Until this three-part, 270-minute documentary, however, fans never saw the iteration that started it all: Ye as underdog. Largely comprised of long-suppressed, previously unreleased behind-the-scenes footage shot by one of the star’s longtime confidants, the first two chapters chart West’s defiant rise from obscurity to the top of the charts. It will debut at Sundance ahead of the film’s limited theatrical release and streaming run on Netflix next month. — Chris Lee


Nanny


Nikyatu Jusu’s short Suicide by Sunlight, which premiered at Sundance in 2019, elegantly blended the grounded and the horrific in a main character whose custody battle for her daughters was complicated by the fact that she’s a vampire, albeit one able to go out in the day and pass as human because of the melanin in her skin. Jusu’s feature debut, Nanny, similarly blends unsettling elements of the supernatural into the everyday toil of Aisha (Anna Diop), a Senegalese immigrant who takes a job caring for the young daughter of two wealthy Manhattanites (Michelle Monaghan and Morgan Spector) who have many demands but always seem short on cash whenever it’s time to pay her what she’s owed. Aisha, who’s saving to bring her son over from Dakar, is haunted by her own lack of leverage and visions of two different figures out of West African folklore who are either trying to undo her efforts or give her a warning. — Alison Willmore


When You Finish Saving the World


If you are a 30-something actor with downtown cred and A24 doesn’t allow you to make your directorial debut, what are you even doing? Sundance’s Day One premiere is a generation-gap study from Jesse Eisenberg, adapting his Audible Original about a mom who runs a women’s shelter (Julianne Moore) and her internet-famous son (Finn Wolfhard). Seventeen years ago, Eisenberg played a Noah Baumbach stand-in; let’s see how much he learned from the master of interfamilial awkwardness. — Nate Jones


Phoenix Rising


Testifying before the senate in 2019, Evan Rachel Wood first detailed horrific allegations of domestic abuse she says she suffered at the hands of an unidentified ex-boyfriend widely speculated but never confirmed to be shock rocker Marilyn Manson. In the two-part documentary directed by Amy Berg (Janis: Little Girl Blue, The Case Against Adnan Syed), the first part of which will premiere at Sundance before airing on HBO in the spring, Wood comes forward to recount her survivor story: what she has described as being “brainwashed and manipulated into submission” by Manson during their relationship — he insists everything was consensual — en route to helping create the Phoenix Act, a California law extending the statue of limitations on domestic violence felonies. — Chris Lee


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Living


Some will complain that the world doesn’t actually need an English-language remake of the Akira Kurosawa classic Ikiru about a repressed, aging civil servant dying of cancer. But the idea of transposing Kurosawa’s 1952 tale to the submerged world of postwar London feels just right. Also, it stars Bill Nighy. Also, the adaptation was written by Kazuo Ishiguro. Also, let’s face it, some of history’s most notable films have effectively been Kurosawa remakes, from A Fistful of Dollars to Django to The Magnificent Seven to (yes) Star Wars.  — Bilge Ebiri

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