16 Must-See Films from the 2025 Sundance Film Festival

The Sundance Film Festival is currently experiencing an unprecedented period of transformation, as it prepares to reveal its new permanent home starting in 2027, which could potentially shift the festival’s atmosphere significantly, perhaps even altering its fundamental nature. Regardless of whether the chosen city is Cincinnati or Boulder, the change of venue will undoubtedly bring about shifts.

At the same time, Sundance finds itself grappling with a new reality where independent films struggle to maintain their unique identity – both in the commercial landscape and within the broader culture. The streaming era has gradually eroded the initial indie film movement that sparked so much excitement in the 1990s. Films from Sundance that are released directly on streaming platforms tend to disappear quickly, and there are fewer opportunities for these films to be seen by a wide audience compared to before.

Despite a changing and somewhat less prominent environment, let’s not be fooled into thinking that the top-tier movies haven’t remained extraordinary works of artistic entertainment all along. The 2025 Sundance Festival showcased this, undeniably, as it demonstrated that the festival’s creative core is thriving and brimming with passion for filmmaking. Here are my recommendations for the standout films from the festival, chosen by yours truly, EbMaster.

I hope this version maintains the original’s natural flow while being more accessible to a broader audience.

The Alabama Solution

An exceptionally compelling documentary, “The American Prison System Unmasked,” directed by Andrew Jarecki and Charlotte Kaufman, offers a stark portrayal of the inhumane conditions within several Alabama prisons. The film exposes not just rampant mistreatment but a system that operates beyond the law itself. Contraband cellphones serve as the medium through which incarcerated men share their harrowing experiences, shedding light on a cover-up of one inmate’s gruesome murder at the hands of a guard. The film’s narrative is gripping, mirroring the intensity of a thriller, as it highlights the resilient humanity of the prisoners amidst their horrific ordeals. (For further insights, read Owen Gleiberman’s full review.)

The Ballad of Wallis Island

Tim Key charmingly portrays a twice-lucky lottery winner, determined to reunite his beloved band, McGwyer-Mortimer – a folky duo who parted ways musically and romantically years ago. In an effort to make this dream a reality, he even spends a significant portion of his winnings on a private performance. As writers, Key along with his comedy partner Tom Basden skillfully bypass superficial sweetness and instead deliver a poignant conclusion to the couple’s tale that resonates authentically with the heart. (Credit for this review goes to Tomris Laffly.)

BLKNWS: Terms & Conditions

In his unique approach, Director Khalil Joseph significantly reshapes our perspective on the world, viewing it primarily through a Black lens while also acknowledging the challenges inherent in this process. The film is a thought-provoking blend of documentary and fiction that resists easy classification. It partially takes place aboard a futuristic, multi-faceted ship traversing the Atlantic, where a journalist and an arts scholar are on board. However, this narrative structure serves more as a foundation for a subtler, abstract storyline revolving around personal and political history. Essentially, it’s a dreamlike film within the film that frequently circles back to itself, providing a framework for a more symbolic, enigmatic narrative. (Originally penned by Siddhant Adlakha.)

Coexistence, My Ass!

As a movie critic, I was captivated by Amber Fares’s documentary, “Stand Up for Peace,” which uses the humor-filled stand-up routines of Noam Shuster Eliassi as its foundation. This thought-provoking and heartfelt film was born at Harvard University, where Eliassi developed her act following an invitation. Throughout the movie, we discover that Eliassi’s enlightened perspective is deeply rooted in her upbringing in the unique Israeli village where both Palestinians and Jews reside harmoniously.

What sets this documentary apart is its ability to convey radical concepts through laughter. Rarely do I find comedy so serious and timely as it is here. (Read the full review by Tomris Laffly.)

DJ Ahmet

In a secluded village in North Macedonia, Georgi M. Unkovski’s first film, “DJ Ahmet,” offers a captivating blend of music, humor, and understated elegance. This film narrates the tale of a young boy challenging his conventional community. Unlike overly sweet or shallow productions, “DJ Ahmet” is deeply rooted in the harsh realities that exist in patriarchal societies where men often suppress their emotions, and women struggle for control over their lives. The compelling narrative gracefully balances elements that evoke laughter and those that resonate as an art-house masterpiece. (Carlos Aguilar’s review offers a more detailed perspective.)

If I Had Legs I’d Kick You

In a fervent, intense portrayal, Rose Byrne masterfully depicts the unravelling of a character’s mind in a deeply personal apocalyptic scenario, as directed by Mary Bronstein. With her spouse absent and her child connected to a persistent medical monitor, Byrne’s frantic Linda appears on the brink of madness. However, Bronstein skillfully transports us into Linda’s mind, making us feel the oppressive closeness of the walls, the impending doom of the collapsing ceiling, and the unstable ground beneath her feet. (Credit for this review goes to Peter Debruge.)

It’s Never Over, Jeff Buckley

Jeff Buckley’s voice was extraordinarily beautiful, seemingly floating ethereally while echoing the passion of Nina Simone and Robert Plant combined with a celestial angel’s fervor. Amy Berg’s captivating documentary traces Buckley’s meteoric rise in the ’90s and his untimely death. The film illustrates how Buckley was poised to become an astronomically prominent figure. However, it also delves into his struggles and the haunting circumstances surrounding his drowning death in 1997. (Review by Owen Gleiberman.)

Lurker

This movie, titled “Cowboys,” explores the dark side of celebrity in today’s world, using a captivating yet chilling tale. The story revolves around Matthew (played by Théodore Pellerin), an ordinary individual working at a modest L.A. clothing store, who manages to worm his way into the exclusive circle of Oliver (Archie Madekwe), a rising pop star with a massive fan base seeking greater success. Matthew transforms from a mere acquaintance to Oliver’s confidant and social media sidekick. So enamored is Matthew by this attention, he’s willing to go to extreme lengths to maintain it. The director, Alex Russell, employs an agile, handheld-camera style that reflects the transient nature of self-filmed celebrity in the Instagram age. Pellerin delivers a striking and unsettling portrayal of Matthew, transforming him from a socially awkward character into one of calculated ambition. (Reviewed by Owen Gleiberman.)

The Perfect Neighbor

In a blend of originality and philosophical depth, Geeta Gandbhir’s true-crime documentary presents a tragic dispute, detailing events from the initial 911 call to the final court verdict, primarily using official recordings. This compelling drama unfolds in a way that is reminiscent of both “Paranormal Activity” and “End of Watch,” allowing viewers to reach their own conclusions. The bodycam footage exposes Susan Lorincz’s most dangerous tactic: manipulating the truth and deceiving authority figures when they arrived on the scene. (Review by Peter Debruge.)

Peter Hujar’s Day

Ira Sachs’ movie, a captivating time capsule, revolves around Ben Whishaw as Peter Hujar, the renowned 70s and 80s New York photographer, engaged in a lengthy chat with his friend Linda Rosenkrantz, played by Rebecca Hall. The conversation is filled with Hujar recounting his previous day’s activities. Whishaw delivers an astounding performance as the gentle, melancholic, gay, cigarette-loving, earnest yet secretive Hujar. The film beautifully emphasizes the unspoken spirituality hidden within everyday occurrences. (Credit for this review goes to Owen Gleiberman.)

Predators

From 2004 to 2007, NBC’s controversial series “To Catch a Predator” gained widespread popularity, presenting itself not just as a form of reality television, but as a public service aimed at protection. The show dispensed justice in a manner that the audience found appealing – openly, brutally, and on television. David Osit was one of many captivated by the series; two decades later, his thoughtful and powerful documentary questions the reasons behind its appeal. His film, subtly probing and ultimately striking, leaves us uneasy yet uncertain about our beliefs. (Review originally written by Guy Lodge.)

Ricky

Stephan James portrays Ricky, a young man from East Hartford, Connecticut, who’s recently been released from prison (having served half his life inside). Facing a world that feels rigged against him, he’s determined not to return. However, his actions often make his journey more challenging. Director Rashad Frett skillfully crafts this narrative with an emphasis on pace, tension, and atmosphere, offering a raw portrayal of the complex intersection between systemic obstacles and self-destructive tendencies. (This summary is based on Owen Gleiberman’s review.)

Sly Lives! (aka the Burden of Black Genius)

An engaging and insightful documentary about funk-pop, skillfully crafted by Questlove in his second directorial venture (following “Summer of Soul”). The film delves into the life and influence of Sly Stone, dissecting, analyzing, and ultimately reassembling it like a master DJ. Packed with enlightening interviews and rare archival footage, the movie offers a vibrant and captivating experience for both sight and sound. However, Questlove pauses to reflect on his presentation, underscoring how Sly Stone and the Family Stone revolutionized funk, breaking down barriers and elevating joy to an ideology. The documentary also recounts Sly’s decline, a fall marked by drug addiction, though its subtitle hints at the unique form of fame he attained as a Black artist, which the system exploited and in some ways distrusted. (Citing review by Owen Gleiberman.)

Sorry, Baby

In the realm of U.S. dramatic films, Eva Victor’s humorous yet thoughtful debut, “Eva Victor’s Film,” is a noteworthy standout. Far from being a film solely about sexual assault, it delves deep into the journey of recovery, offering a sincere and candid exploration of the aftermath. The narrative skillfully intertwines sympathy with satire, inviting us to question rather than accept, creating an emotional tapestry that resonates deeply. As a reviewer, I found myself captivated by Victor’s ability to navigate such a delicate tone. Her debut is not only warm and compassionate but also pushes the boundaries of our current vocabulary on this critical topic, initiating a conversation that desperately needs to be had.

Train Dreams

In a blend of elegy and anthem, “Jockey” director Clint Bentley’s film, “Train Dreams,” beautifully portrays the spirit of those who conquered the American Cascades, felled trees and laid tracks. Drawing inspiration from Denis Johnson’s slim yet powerful novella, this almost century-long movie honors the unsung heroes of manual labor who built our country, focusing particularly on Robert Grainier, a man who found fleeting moments of joy. Although Terrence Malick’s influence is perceptible, Bentley has undeniably crafted his unique style. The film’s structure resembles a quilt, with fragments interlocking seamlessly, occasionally flashing before our minds like ghostly echoes that later resonate more profoundly. Significant meetings, many of which are brief or occur only a couple of times, shape Grainier’s worldview through the words of those he encounters. (Peter Debruge provides a comprehensive review of this film.)

Twinless

In James Sweeney’s humorous yet touching second film, two individuals find each other in a support group for people who have lost identical siblings. This setting serves as a platform to delve into themes of codependency, although it’s the relatable issue of loneliness that drives the thoughtful, comedic exploration of coping mechanisms. “Twinless” handles grief with genuine empathy, allowing Dylan O’Brien (in a commendable double role) to portray sorrow and subsequent numbness authentically, while Sweeney himself takes on a self-deprecating, complex character. The film skillfully walks the line between questionable actions and an honest portrayal of grief, anxiety, and anger management. (Peter Debruge’s review in full can be found here.)

2025-01-31 20:19