The feature debut of Australian director Goran Stolevski blurs the line between horror and drama while treading the line between violence and rebirth.

After triumphing at Sundance earlier this year, Siân Heder's winning sophomore feature is on its way to wringing tears out of the eyes of Apple TV+ subscribers.

The grimy history of mania targeting violent art lays the foundations for this adequate movie, but its most interesting ideas are left at the door.

Politics, personal histories and border region complexities tangle in the new documentary from filmmaker and Texas journalist Maisie Crow.

“The Blazing World” joins the hand-drawn counterculture fantasia of “Cryptozoo” and the nuclear-blasted dystopian rescue mission “Prisoners of the Ghostland” as a strong contender for the most WTF experience to be had at the 2021 Sundance Film Festival.

As was the case with its predecessor, the title of “Life in a Day 2020” says it all—even if saying it all in regards to 2020 means something more consequential and ostensibly ambitious.

Constructed with a spirit of take-life-as-it-comes open-endedness that feels both invigorating and dangerous, “Cusp” becomes a documentary about three young girls trying to avoid being defined by the boys and men in their lives. Its ultimate accomplishment is that we absolutely come to believe they can, as well as triumph over so much more, despite the tensions lurking in the underbrush of teenage ennui.

Molding a bevy of influences into a work so singularly bizarre that you swear you’d imagined the whole thing once it’s over, Dash Shaw’s “Cryptozoo” – a hand-drawn fantasia of sex, fantasy-tinged espionage and counterculture revolution – is the kind of effort that taps expectations of animation being solely for children on the shoulder before setting it ablaze, gathering the ashes and rocketing the remains into space.

Pitch-perfect needle drops courtesy of Elton John and The Rolling Stones can only get you so far when wading into nostalgic waters, and somewhere soon after the midpoint of Sundance 2021 flick “One for the Road,” it finds itself suddenly submerged.

“Son of Monarchs” is a film as invested in its scientific arcs as the emotional ones of its reserved protagonist, and it’s a contradictory work—rigid and improvisational, didactic and artistic, fully aware of itself and stylistically unmoored. And it’s entirely embracing of those contradictions.

“The Most Beautiful Boy in the World'' showcases an inherent element of nonfiction storytelling that too many documentarians end up disguising in the final work—the idea that the questions we initially set out to answer are not always the ones that are most intriguing later on.