Sundance Film Festival 2026: Park City’s Last Dance Pt 1

The last Sundance in Park City. This has been such a ride, for better or worse, and being there in 2026 for the last time inspired a lot of feelings. A start of something new and the end of something that has enchanted the lives of many, it was apropos given the industry’s shifts, but even so, this felt like a forlorn ending- this… last dance.

I ventured to Utah, and I walked the familiar trails, sat in the theaters I’d come to know, and tried to experience it both with new eyes and a seasoned heart. This final waltz wasn’t quite the beautiful stride I had hoped for, but I left feeling proud to have known and lived in it.
As for the movies, they were also somewhat in between, as if they, too, were experiencing the transition. Surprising, heartfelt, comical, and thought- provoking, this group of films scoured my emotional map and mostly hit.

Mum, I’m Alien Pregnant (Thunderlips)

As you read the title and think “what the hell?” hold onto that sensation, because watching it doesn’t strip that away, it expands upon it. This is one of the strangest films I’ve seen in some time (for me, that’s saying a lot), but also one that’s original, hilarious, and exhibits some of the most unforgettable practical effects.

Based on their proof-of-concept short, this feature debut from the New Zealand directing duo Thunderlips keeps the outlandish humor but takes it much further. Mary (Hannah Lynch) lives at home with her mother (who has no awareness of boundaries) and has no job or plan for her future. When she hears that her neighbor has an alien penis, she’s intrigued.

She meets Boo (Arlo Green), her shy neighbor in the laundry room, and within minutes sees his alien parts. This results in projectile fluids and an unwelcome and very fast-progressing pregnancy. The humor is dry, silly, and self-deprecating, without ever leaning into offensive. Beneath the goo and the strangeness, there’s also heart.

Beyond the gross-out moments and the shock value of it all, this is also a story about consent and a woman’s choice. The film takes an intriguing perspective by showing the worst-case pregnancy scenario and having seemingly everyone she interacts with be nonchalant and straight-faced, acting as if this is normal. Everyone’s experience is difficult, and everyone in her life seems to think they know what’s best for her. But what does she want?

This is Hannah Lynch’s film, who does an amazing job as our anchor to both reality and absurdity. Our supporting cast and everything with the mother figures is equally engaging and well done. Mum, I’m Alien Pregnant is exactly what it says it is, and yet also, more.

Body autonomy and an alien baby, what’s not to like?

Josephine (Beth de Araújo)

There’s no doubt why this won the top prize at Sundance. Beth de Araújo’s film is an effective examination of something that isn’t easy but is vastly important. When is the right time for a child to know about adult things? What if they are witnesses to an atrocity? It isn’t a simple decision or conversation, and this isn’t an easy watch. Josephine doesn’t shy away from the tough moments, making this one of the best films I saw at Sundance.

In its opening, father (Channing Tatum) and daughter Josephine (Mason Reeves) are practicing soccer and going for a weekly run in the park. It’s a tender, lovely scene, but when she runs ahead, they get separated. From there, she witnesses a disturbing act of sexual and physical assault. Reeves is devastatingly good, and the despair in her face as she struggles to know what she is seeing stays with you.

What follows forces Josephine to consider and understand things beyond her understanding, and it leaves her parents (Tatum and Gemma Chan) scrambling to learn themselves just how to approach the subject and how to help their daughter. When she’s brought in to testify against the attacker, things become even more amplified, and her own comprehension of violence is shown in scenes of her imagining him in her room and interacting in various ways.

Without a doubt, this is Channing Tatum’s best performance. He’s exceptional, and young star Mason Reeves is on par, shouldering each other’s emotions and strengths, becoming a formidable pair.

Josephine is a heartbreaking one, but not without hope. It’s brilliant in its performances and how grounded this family feels amid the tumultuous situation. After this and her previous film Soft & Quiet, it’s safe to say that Beth de Araújo is one of our bravest new voices.

The Incomer (Louis Paxton)

This strange little tale from Louis Paxton takes us to a Scottish isle where siblings Isla and Sandy (Gayle Rankin and Grant O’Rourke) live alone. After their parent’s passing, it is left to them to ward off outsiders and maintain the island. Their days are spent avoiding the temptation of the Finman (John Hannah), feasting on gulls, storytime, and brawls.

When Daniel (Gleeson) arrives with news that they have to leave, their initial reaction is to defend their land. Outside of the hijinks and confusion of what each party’s intent is comes a genuine connection, one that changes everyone involved. The Incomer weaves together magical realism, absurdity, and heart with confidence. Domhnall Gleeson has such charm that he makes you smile every time he’s on screen. It’s quite the feat that Gayle Rankin and Grant O’Rourke manage to be on par with him in a combined hilarious and uplifting performance.

The Incomer is occasionally too quirky for its own good, and your enjoyment will differ depending on your appreciation for that. The writing is sharp, the humor rampant, and the story is moving.

It’s magic, and it highlights the beautifully strange dance that is human connection. It felt like a warm embrace, and Paxton invokes joy through the lovely message of finding your people and home at a time when we all need that.

Silenced (Selina Miles)

There’s nothing easy about the film Silenced, but then again, there shouldn’t be. International human rights lawyer Jennifer Robinson, who has represented sexual abuse victims all over the world, takes center stage and, from the opening remarks, demands your attention.  Her most high-profile endeavor was representing Amber Heard, and while the film covers elements of that (and features interviews with Heard) it’s about much, much more. And despite how many stories are covered, there are so many more that are never heard.

The harsh reality of what these women have to deal with is staggering, but it’s an important documentary to experience. It stands as a reminder. The defamation laws that are weaponized against women who speak out about abuse are infuriating, and it’s a subject that needs to be explored and highlighted more. At times, it’s overwhelming, both the amount of information and the way that it moves back and forth from Robinson’s work to various victims. I wish there were a little more care with the editing done on the film, but it doesn’t really detract from the significance of the work.

Silenced is a compassionate documentary that mostly does a successful job delivering on its intent. We all know this is an ongoing battle, and an uphill one at that. Movies like Silenced are the start, and hopefully, this pushes the conversation to continue.

Carousel (Rachel Lambert)

After reading the description and seeing the cast (Chris Pine, Jenny Slate, Abby Ryder Fortson, Sam Waterston, Katey Sagal), Carousel had the potential to be one of my favorites of the fest. Unfortunately, I was ultimately disappointed and yearned for what could have been.

This slice-of-life film follows Noah (Chris Pine), a divorced doctor who has his teenage daughter (Abby Ryder Fortson) part-time, whom he consistently tries to connect with. His routine gets a shake-up when he runs into a past love, Rebecca (Jenny Slate). She has returned home to take a job at the school they attended, teaching debate. And of course, she’s teaching his daughter.

As they rekindle their relationship, some of their past problems resurface, and his daughter’s anxiety gets worse. The chemistry is there with our leads; their connection is both genuine and palpable. Change can be scary, and the film handles how each character deals with that well. Abby Ryder Fortson feels a bit underutilized here, but some of the scenes with her and Pine feel grounded and earned. When it comes to the performances, everyone -especially Pine– is fantastic, but the film’s pacing and writing bring it down.  The script doesn’t give them enough room to fully grow in, and the characters feel stifled.

Carousel will find its audience, and there’s plenty to appreciate about the film; I just wish I had fallen in love with it.

Stay tuned for more coverage!