My next round of screenings brought a mix of tears, laughter, and a touch of disappointment. As is often the case with Sundance, you never truly know what you’re getting into until the final credits roll.
Saccharine
I’m a sucker for the Midnight section and will usually forgo any other screening to catch one; over the years, that gamble has typically paid off. Unfortunately, Saccharine didn’t quite live up to my Midnight expectations. The film introduces Hana, a medical student who begins a weight-loss program centered on consuming human ashes. As she wastes away, she realizes she is actually feeding the “hungry ghost” of the person she’s ingesting.
Writer/director Natalie Erika James explores themes of body dysmorphia, supernatural possession, and toxic diet culture in this Australian horror entry. While the first act maintains a solid pace, the narrative gets messy in the second half. Even when the story seems headed toward a satisfying conclusion, it takes a bizarre left turn—one that, in hindsight, was telegraphed a bit too early. I didn’t hate Saccharine, but it isn’t a film I’m eager to revisit once it lands on IFC/Shudder.
Hot Water
Hot Water feels like the quintessential Sundance film: a heartfelt story centered on a unique family dynamic. The plot follows a Lebanese Arabic professor at Indiana University who must drive her troubled teenage son across the country to move in with his estranged American father—who lives in a Santa Cruz nudist colony.
Director Ramzi Bashour captures the Midwest perfectly as the road trip begins. Lubna Azabal shines as a mother torn between her family in Lebanon and her struggling son. Their interactions feel authentically lived-in; watching someone explain what “chicken-fried steak” is to a person who has never heard of it is a highlight. The film excels at looking at American culture through both an insider and outsider lens. While the themes aren’t necessarily breaking new ground, the execution feels wonderfully refreshing.
Extra Geography
Meet Minna and Flic, two best friends at an all-girls English boarding school who pride themselves on being the best at everything. Their new mission? Falling in love. For their summer project, they decide their geography teacher is the perfect target.
If you enjoy dry British humor, this is a must-see. Based on a short story, the film captures the awkwardness of Election mixed with a dash of Shakespearean tragedy. Galaxie Clear and Marni Duggan are fantastic in their debut roles, navigating the complexities of friendship while questioning everything about life. Extra Geography is a witty, clever look at female friendship during the absolute worst time of a person’s life: adolescence.
The Shitheads
In writer/director Macon Blair’s road-trip comedy The Shitheads, two unqualified “escorts” are tasked with driving a wealthy, troubled teenager to rehab. O’Shea Jackson plays the well-intentioned screw-up Davis, while Dave Franco plays Mark, a “do-anything-for-money” addict.
The film has several hilarious sequences and punchy one-liners, but surprisingly, Franco and Jackson lack the electric chemistry needed to really carry the duo dynamic. Instead, Mason Thames steals the show as the narcissistic, sociopathic teen who outwits his captors at every turn. While the plot juggles a few too many threads that don’t quite reach the finish line, The Shitheads provides enough laughs in its fast-paced 98-minute runtime to make it worth the watch.
Josephine
Beth de Araujo’s Josephine received significant acclaim at this year’s festival, and every bit of it is earned. The story follows an eight-year-old girl who is the sole witness to a brutal assault in Golden Gate Park. What follows is a tragic tale of lost innocence as she struggles to navigate a world she isn’t equipped to understand.
Mason Reeves is breathtaking as Josephine, but the supporting cast is equally strong. Channing Tatum and Gemma Chan play her parents, who find themselves at odds over how to help their daughter cope. Their shared sense of powerlessness is often difficult to watch—particularly Tatum, whose character is obsessed with seeing the perpetrator face justice at any cost. It is arguably Tatum’s finest performance to date. By shooting from lower angles to mimic Josephine’s physical perspective, Araujo forces us to see the world through her eyes. Expect Josephine to be a major part of the Oscar conversation later this year.