The Sundance Film Festival announced all of its awards on Friday afternoon, with audience awards going to Navalny, Cha Cha Real Smooth, Girl Picture, The Territory, and Framing Agnes. Grand jury prizes were awarded to Nanny, The Exiles, Utama, and All That Breathes. I had missed a bunch of these during the premiere and second-screening windows; so I was grateful that the festival dedicated its final weekend to third showings of all of them so that I could catch up with a few more before packing up my virtual snow boots until next year.

A futuristic look at life and death that still deals with the same struggles Black people suffer through today whether they’re American, Australian or African. Neptune Frost follows one person’s journey through life, the afterlife, and beyond in this strange tale of what it means to survive through the lens of social justice and technology.

What if you found out you were going to school, and even best friends with, a complete stranger? That’s the oddly intriguing premise of this strange, winding documentary. A young man named Brandon Lee enrolled at Bearsden Academy, a secondary school in a ritzy suburb of Glasgow, Scotland. Over the course of the next year or so, he went from a nobody to the lead in the school play, everyone’s pal and the life of the party. Little did they know, he had a secret that would throw everyone he’d met there for a loop.

question for another day, but if you’re going to make one — as Oliver Hermanus did — there’s perhaps no one quite like Kazuo Ishiguro to craft a symphonic tribute to the deep wells of emotion lurking within the stoic reserved protocols of a formal bureaucracy.

Conceived and filmed during the pandemic, Lena Dunham’s return to feature filmmaking is the most mind-boggling misfire that I’ve seen at the festival so far.

Sundance has gained a reputation as a launching pad for documentary films that are bound to catch popular attention. Brief reviews of some of the festival’s highlights, including stories about Boeing, Kanye West, and Lucy and Desi.

most certainly dive headlong into Sundance’s ample genre programming for legitimate horror movies, but I can’t think of any or them more terrifying to the ego than sitting down for a music documentary about a bunch of “era-defining” bands as a way of being forced to confront the fact that the soundtrack from your early twenties has now aged into fodder for the archival treatment. Working from groundwork laid by Lizzy Goodman’s book of the same title, directors Dylan Southern and Will Lovelace have assembled a clear-eyed collage of the “rebirth of rock” that exploded from New York City in the early 2000s.

After Columbus, about two people quietly getting to know each other on an impromptu architectural tour of a small town, became a surprise critical darling, many were curious about where Kogonada would go next. The answer: to the future with Colin Farrell. Seeing his new film, After Yang, during its stateside premiere at Sundance this weekend also answered the question of whether there would be any truly great movies shown at this festival and/or released in 2022.