Weeks before the 2025 Sundance Film Festival was slated to begin in Park City, Utah, catastrophic wildfires broke out in Los Angeles. Organizers debated the next steps, but ultimately decided to continue with the festival as planned, saying that they hoped it could be “healing and catalytic.” Still, the ongoing tragedy in nearby California loomed large over Sundance. The Josh O’Connor-led drama “Rebuilding” hones in on a rancher whose property is destroyed by a wildfire, following him as he tries to find hope and community in the aftermath of devastation. The festival set up resources online and on the ground in Utah for those affected by the fires, while the disaster stayed in conversation as filmmakers, stars and Sundance employees all grappled with its effects firsthand.
While not every movie was a surefire hit, you’d be hard-pressed to stumble upon something that wasn’t at the very least interesting.
But the wonderful thing about Sundance is that, unlike other film festivals where maintaining an air of exclusivity and glamour often seems like the top priority (sometimes over the films themselves), Sundance has always been about meeting people where they’re at. “Community” isn’t merely a buzzword, it’s what the festival was founded on. Sundance turns Park City into a hub for new independent cinema and heralds unique voices that might otherwise be shut out of the industry’s tightly locked doors. It’s a festival so defined by its spirit that it’s difficult to imagine attending it will feel any different when it switches location in 2027. Yes, this is the penultimate year of the festival being held in Utah, where it has taken place since its inception 46 years ago. But no matter where it goes next, important filmmaking is sure to follow.
This year’s lineup was no different. The slate was packed with exciting titles and fresh voices, all ripe for the picking. While not every movie was a surefire hit, you’d be hard-pressed to stumble upon something that wasn’t at the very least interesting. The festival also once again proved itself instrumental in showcasing timely works. The documentary “Heightened Scrutiny,” about ACLU lawyer Chase Stangio preparing to argue for gender-affirming care in front of the Supreme Court, felt perfectly timed to meet Trump’s anti-trans executive orders. Elsewhere, an updated version of Ang Lee’s “The Wedding Banquet” tackled not only Asian diaspora but fertility struggles and queer dynamics in contemporary family units. It was a year where Independent artists and A-List talent were on a level playing field, and it’s that kind of consistent uniformity that continues to set Sundance apart from every other major festival.
Here, then, are nine of the best, most fascinating films from Sundance 2025 that are not to be missed.
Writer-director Mary Bronstein’s latest film finds Rose Byrne in crisis. Well, crises. Byrne stars as Linda, a woman looking Murphy’s Law dead in the eye and screaming in its face. Her daughter is dealing with a mysterious illness, her husband is nowhere to be found and her therapist is proving increasingly unhelpful, even detrimental. The universe is constantly heaping new troubles onto Linda; wherever she goes, there they are. It sounds a bit like Cassavetes’ “A Woman Under the Influence” — and Byrne certainly has what it takes to go full Gena Rowlands — but her unraveling is both funnier and somehow even more nauseating. It’s a portrait of motherhood that unfolds like the antithesis of the you-can-do-it enthusiasm of last year’s “Nightbitch,” and Byrne is the perfect person to carry it. After three scorching seasons of Apple TV+’s vastly underrated “Physical,” Byrne’s turn in “If I Had Legs I’d Kick You” immediately confirms her as one of the most captivating screen presences of her time.
Where to watch: A24 will release the film sometime this year.
Atropia (Courtesy of Sundance Institute)Image_placeholderOne of the most high-concept films in Sundance’s 2025 lineup, “Atropia” jumps back 20 years to follow a group of actors at a military base deep in the California desert, where they simulate real-life in an Iraq war zone for soldiers who are about to be deployed. While the film is based on actual simulations that soldiers take part in, writer-director Hailey Gates — whom you know as the unlucky Tinder date in “Challengers” or the junkie mom in “Twin Peaks: The Return” — ratchets up the satire to ruminate on the inherent absurdity of American imperialism. “Atropia” finds star Alia Shawkat back in comedy mode as Fayruz, an aspiring actor desperately trying to turn this strange role-playing opportunity into her big Hollywood break. The film is an expanded, full-length version of Gates’ 2019 short film “Shako Mako” (also starring Shawkat), but with a more keen eye for visual flair and worldbuilding. Not every beat works, but Gates’ ambition is admirable and suggests the emergence of a major directorial talent whose first feature is the perfect primer for a promising career.
Where to watch: The film is still seeking distribution.
Tom Blyth and Russell Tovey in “Plainclothes” (Courtesy of Sundance Institute/Ethan Palmer)Image_placeholderAfter his star-making performance in 2023’s “Hunger Games” prequel, Tom Blythe takes a welcome step back to the indies in “Plainclothes,” though one that’s just as filled with visual spectacle. Carmen Emmi’s film jumps between photography styles to capture its stars in ice-cold digital and the warmth of MiniDV, perfect for a movie about an undercover cop working sting missions to catch gay men cruising for sex, who happens to fall in love with one of his Johns. The visual style can be disorienting at times, but the film is structured well enough that its narrative remains arresting (no pun intended) throughout. “Plainclothes” takes a while to build its intrigue, but once it settles into its final act, viewers will find themselves moved and shocked in equal measure by Emmi’s conclusion.
Where to watch: The film is still seeking distribution.
Dylan O’Brien and James Sweeney in “Twinless” (Courtesy of Sundance Institute/Greg Cotten)Image_placeholderOne of Sundance’s best surprises, “Twinless” is the final leap that Dylan O’Brien needed to go from one-time MTV teen heartthrob to full-fledged, bonafide movie star. In the film, O’Brien plays Roman and his twin brother Rocky, who died in a tragic accident that leaves Roman looking for answers in a bereavement group for twins who have lost their sibling. It’s there where Roman meets Dennis (James Sweeney, who also wrote and directed the film), and it’s not long before the two are bonded over their shared trauma. Initially, both men find that the other is the perfect proxy for the brother that they lost; Dennis fills the spot of Roman’s gay twin, and Roman fills the spot of Dennis’ straight twin.
But as they get closer, the two men discover that grief manifests itself in bizarre ways that neither of them is prepared for. Sweeney’s script is funny, unnerving and deeply heartwrenching, while his stylish direction makes for a consistently bewitching watch experience. But it’s O’Brien who surprises most often. He’s tender and enigmatic, and the film wouldn’t work nearly as well without the resonance that he supplies. Unfortunately, O’Brien’s fans leaked some of the film’s scenes online, causing “Twinless” to be yanked from the festival’s online portion in its final days. But while there may be some spoilers floating around, do your best to walk into this one blind. You’ll be glad you did.
Where to watch: The film is still seeking distribution.
Ben Whishaw in “Peter Hujar’s Day” (Courtesy of Sundance Institute)Image_placeholderThe deceptively complex “Peter Hujar’s Day” is one of Sundance’s most brilliant showcases of talent across the board. Fresh off great work in Netflix’s “Black Doves,” Ben Whishaw once again joins forces with the great Ira Sachs, who directed Whishaw in 2023’s “Passages,” another Sundance stunner that ended up being one of the finest films of that year. Here, Whishaw plays photographer Peter Hujar, who meets up with writer Linda Rosenkrantz (Rebecca Hall) to, quite simply, discuss the day. It’s an intimate two-hander, deftly carried by Whishaw and Hall, two of the most overlooked actors working today who always manage to draw something uniquely compelling out of every role they take on. “Peter Hujar’s Day” is no different; it’s a simple, conversational, dialogue-forward film that lets its actors sink into their roles, bringing the viewer right along with them. What might be a bore in the hands of less capable artists turns utterly mesmerizing, making for one of the best entries at Sundance 2025.
Where to watch: The film is still seeking distribution.
Eva Victor in “Sorry, Baby” (Courtesy of Sundance Institute/Mia Cioffi Henry)Image_placeholderThere’s an undercurrent of strange tension that flows through “Sorry, Baby.” At times, writer, director and star Eva Victor shoots her feature debut like a horror film, lingering on empty spaces as if to suggest that something might pop out of a dark corner at any moment, or a door might slowly creak open after being shut. Victor’s prolonged takes are designed to give audiences a sense of her character Agnes’ pervasive paranoia, a fear that follows Agnes like a plague after she survives a terrible event. Victor’s film is a raw look at recovering from something you never asked for in the first place, and a wryly funny take on the highs and lows of coping. While its nonlinear structure lets some air out of the emotional thrust and the tone shifts too often, “Sorry, Baby” is nevertheless a charming debut from Victor, whose obvious talent is already attracting significant buzz as one of the festival’s most auspicious new voices.
Where to watch: A24 will release the film sometime this year.
Paul Reubens in “Pee-wee as Himself” (Courtesy of Sundance Institute/Dennis Keeley/HBO)Image_placeholderThis two-part documentary walks the line between artifice and reality as it explores a similar struggle that icon Paul Reubens had separating himself from his beloved character Pee-wee Herman, and how the perception of that character changed in the years following Reubens’ arrest for indecent exposure. Shot prior to Reubens’ death in 2023 and featuring intimate, introspective conversations with the actor, director Matt Wolf’s doc plays out like a story that has many different prospective endings. Reubens fashions himself as an unreliable narrator in the film, questioning his own memories of the past and the veracity of the facts along the way. There’s no easily digestible, meaningful message, only a portrait of a misunderstood yet completely adored performer who never got his due. “Pee-wee as Himself” is far from your average Sundance celebrity doc, but that’s exactly what makes it so appealing.
Where to watch: The film will stream on Max later this year.
Tonatiuh and Diego Luna in “Kiss of the Spider Woman” (Courtesy of Sundance Institute)Image_placeholderIf you’re a musical fan who is tired of the lack of pomp and circumstance in modern musicals, strap in, because you’re in for a wild ride with “Kiss of the Spider Woman.” Based on the stage musical of the same name — itself an adaptation of the 1976 novel and the 1985 film — the movie is set in an Argentinian prison where a gay hairdresser named Luis (Tonatiuh) spins tales of films starring the imaginary screen siren Ingrid Luna (Jennifer Lopez). These tales become objects of fixation for both Luis and Valentin (Diego Luna), a Marxist sharing Luis’ cell. The movie is the passion project of director Bill Condon, known for writing “Chicago” and “The Greatest Showman,” and directing 2008’s “Dreamgirls.” Not only does the film sport Condon’s flair for the flamboyant, but it also examines the evolution of queer rights around the world, making “Kiss of the Spider Woman” a timely musical that has the potential to dazzle and displease. What could be better?
Where to watch: The film is still seeking distribution, but is currently between bids from multiple distributors to aim for a release later this year.
By Design (Courtesy of Sundance Institute)Image_placeholderThe logline, “A woman swaps bodies with a chair, and everyone likes her better as a chair” is easily one of the funniest film synopses I’ve ever read in my life. Fortunately, Amanda Kramer’s delightfully illogical film rises to the occasion to meet the brilliance of its summary at every turn. But Kramer’s film isn’t just a comedy, it’s a melange of perverse, achingly relatable desire. Juliette Lewis stars as Camille, a woman who yearns not just to be loved, but to be revered. When her eye catches a beautiful wooden chair in a design showroom, Camille is overcome by a longing so intense that she soon finds her soul sitting comfortably inside the object. How wonderful, being so undeniably beautiful — until it’s not. Gorgeously costumed and constructed, Kramer’s film is impossibly chic from tip to toe. Every perfectly manicured frame conjures deep admiration, enough to make you wish that you could become the film yourself.
Where to watch: The film is still seeking distribution.
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about films out of Sundance 2025
