The IndieWire Sundance 2022 Bible: Every Review, Interview, and News Item Posted During the Festival

Film and Television Reviews

‘Emily the Criminal’ Review: Aubrey Plaza Is Riveting in a Pitch-Black Heist Thriller

‘Am I OK?’ Review: Dakota Johnson Charms Her Way Through a New Kind of Sex Comedy

‘Jihad Rehab’ Review: A Provocative Look Inside the Spa-Like Saudi Facility that Tries to Re-Educate Terrorists

‘Navalny’ Review: CNN’s Thriller-Like Doc Goes Inside Putin’s Failed Attempt to Assassinate His Rival

Sundance Indie Episodic Program Looks to the Past to Escape a Grim Present

‘Blood’ Review: ‘Wetlands’ Star Carla Juri Grieves Through a Meandering Soul Search in Japan

‘Dos Estaciones’ Review: The Owner of a Tequila Factory Struggles to Stay Afloat in Sobering Docudrama

‘My Old School’ Review: A One-of-a-Kind Alan Cumming Performance Undone by Shrug-Worthy Hoax

‘Happening’ Review: Captivating Venice Winner Takes a Clear-Eyed View of Abortion

‘Palm Trees and Power Lines’ Review: Breakout Lily McInerny Boosts Painfully Honest Coming-of-Age Tale

‘The American Dream and Other Fairy Tales’ Review: Abigail Disney Takes Aim at Her Family’s Economic Legacy

‘The Janes’ Review: An Intimate and Informative Look Back at a Radical Underground Abortion Group

‘2nd Chance’ Review: A Jaw-Dropping but Unfocused Doc About the Man Who Shot Himself 192 Times

‘Honk for Jesus, Save Your Soul’ Review: Megachurch Culture Gets a Biting Send-Up Straight from Heaven

‘Something in the Dirt’ Review: Two Burnouts Lose their Minds in a COVID-Era Conspiracy Satire

‘Cha Cha Real Smooth’ Review: A Bar Mitzvah Party Starter Falls for Dakota Johnson in This Low-Key Charmer

‘Sirens’ Review: Thrashing the Patriarchy with Lebanon’s All-Female Metal Band

‘Downfall: The Case Against Boeing’ Review: Bland but Infuriating Netflix Doc Sifts Through the Wreckage of the 737 MAX

‘Aftershock’ Review: A Vital Look at the Maternal Mortality Crisis for Black Women in America

‘TikTok, Boom.’ Review: Technology and Influencer Documentary Tries Too Hard to Be Everything at Once

‘Jeen-Yuhs: A Kanye Trilogy’ Review: Netflix’s 4.5-Hour Doc Aspires to Be the ‘Hoop Dreams’ of Hip-Hop

Alice’ Review: Keke Palmer Anchors an Uneasy Mix of ‘Antebellum’ and Blaxploitation Homage

‘God’s Country’ Review: Thandiwe Newton Delivers Politically Charged Suspense on a Human Scale

‘Phoenix Rising’ Review: Evan Rachel Wood’s Powerful Documentary on Surviving Abuse

‘Sharp Stick’ Review: Lena Dunham’s Secret Film Is a Challenging Examination of Love and Sex

‘Hatching’ Review: Girlhood Gets the Horrifying, Hilarious Creature Feature It Deserves

‘892’ Review: Thriller-Biopic Falls Apart, Despite Star John Boyega’s Brilliant Work

‘We Need to Talk About Cosby’ Review: W. Kamau Bell Reckons with Legacy in Forward-Thinking Docuseries

‘Resurrection’ Review: Rebecca Hall and Tim Roth Face Off in Impressively Deranged Psychological Thriller

‘You Won’t Be Alone’ Review: A Heady and Haunting Folk Tale Among the Best Horror Debuts in Years

‘Lucy and Desi’ Review: Amy Poehler’s Affecting Documentary Understands Ball and Arnaz on an Emotional Level

‘Babysitter’ Review: A Hilarious Psychosexual Horror-Comedy with Technicolor Pop

‘Dual’ Review: Karen Gillan Tries to Kill Her Own Clone in Riley Stearns’ Ultra-Deadpan Survival Comedy

‘Summering’ Review: James Ponsoldt’s ‘Stand by Me’ Homage Is an Unspectacular Ode to Tween Pals

‘The Territory’ Review: Intense Doc Cedes Narrative Control to Its Indigenous Subjects

‘Good Luck to You, Leo Grande’ Review: Emma Thompson Hires a Male Escort in a Touching and Sex-Positive Two-Hander

‘Utama’ Review: Visually Stunning Bolivian Drama Explores the Dying Quechua Way of Life

‘Brainwashed’ Review: Nina Menkes’ Eye-Opening Documentary Will Forever Change How You Look at Films

‘Descendant’ Review: Africatown Documentary Rectifies Black Erasure by Filling Historical Gaps

‘Call Jane’ Review: Elizabeth Banks Turns in Career-Best Performance in Phyllis Nagy’s Tricky Abortion Drama

‘Nanny’ Review: In This Atmospheric Horror Film, the American Dream Is the Real Monster

‘Master’ Review: Regina Hall Stands Atop a Towering and Inventive Shot in the Arm for Black Horror

‘Mija’ Review: Immigrant Dreams Harmonize Together in a Dazzling Doc About a Latina Music Manager

‘The Exiles’ Review: A Scattered but Sobering Doc About the Legacy of Tiananmen Square

‘Fresh’ Review: Sebastian Stan Is Captivating as Charismatic Maniac in Sleek and Stylish Horror Debut

‘Living’ Review: Bill Nighy Stars in a Sleepy British Remake of Akira Kurosawa’s Greatest Film

‘Riotsville, USA’ Review: Sierra Pettengill’s Transfixing Doc Unveils the Ugly Truth of America’s Riot Police

‘When You Finish Saving the World’ Review: Dueling Narcissists Battle in Jesse Eisenberg’s Terrific Debut

‘The Princess’ Review: Chilling Princess Diana Doc Turns Tables on Media Consumption and Complicity

‘La Guerra Civil’ Review: Eva Longoria Bastón’s Documentary of Rival Boxers Explores Complex Cultural Divide

‘Fire of Love’ Review: A Molten Love Triangle Between Married Volcanologists and Their Subject

‘Emergency’ Review: Carey Williams’ Raucous and Wise College Comedy Upends the Genre

‘A Love Song’ Review: Dale Dickey and Wes Studi Lead a Micro-Budget Romance in Nomadland

‘Watcher’ Review: Maika Monroe Is Wasted on an Ineffectual Psycho-Drama

Interviews

‘We Need to Talk About Cosby’ Director W. Kamau Bell Thinks There’s ‘No Point’ to Meeting with Bill Cosby

‘Honk for Jesus, Save Your Soul’ Cast and Crew on Balancing Megachurch Satire with Celebration

Having Finland Stand in for the U.S. Gave an Offbeat Veneer to Riley Stearns’ Dystopian Sci-Fi ‘Dual’

How Amy Poehler Found a New Angle Into ‘I Love Lucy’ for Documentary ‘Lucy and Desi’

How Bill Nighy and Aimee Lou Wood Helped Remake ‘Ikiru’ in Oliver Hermanus’ ‘Living’

Lena Dunham Never Asked to Be the Voice of Women’s Sexuality Onscreen

How Tig Notaro’s ‘Am I OK?’ Subverted Dakota Johnson’s Comedy Expectations

A Dearth of Female Coming-of-Age Stories Led Director James Ponsoldt to Make ‘Summering’

‘The Janes’ Documents an Underground Abortion Network — and at a Crucial Moment for Roe v. Wade

Daisy Edgar-Jones Takes a Feminist Horror-Comedy Bite Out of Modern Dating with ‘Fresh’

Cooper Raiff’s ‘Cha Cha Real Smooth’ Channels the Post-Undergrad Slump with Dakota Johnson and Leslie Mann

How Elizabeth Banks and the ‘Call Jane’ Team Prepared for the Film’s Unflinching Abortion Scenes

Kanye West Demands Final Cut on ‘Jeen-Yuhs’ Netflix Doc, but Filmmakers Say His Camp Has Already Seen It

Alan Cumming on Lip-Syncing the Canadian Prodigy Who Duped a Scottish Academy in ‘My Old School’

Thandiwe Newton: ‘I Thought ‘God’s Country’ Was My Last Film as an Actress’

Dylan Southern and Will Lovelace Assembled a ‘Collage’ of Early-2000s Rock in ‘Meet Me in the Bathroom’

Aubrey Plaza and ‘Emily the Criminal’ Cast and Crew on Why Crime Pays with Viewers

‘When You Finish Saving the World’: Jesse Eisenberg on How Directing His First Film Helped His Anxiety

‘Something in the Dirt’: With a Crew of Three, Justin Benson and Aaron Moorhead Embraced Pandemic DIY

Wes Studi and Dale Dickey Have Decades-Long Careers, but ‘A Love Song’ Gave Both Their First Onscreen Kiss

‘The Princess’ Director Ed Perkins on Princess Diana’s Life and Death as a ‘Shakespearian Saga’

‘La Guerra Civil’: Eva Longoria Bastón and Oscar de la Hoya Revisit an Iconic Boxing Rivalry

Ramin Bahrani’s Documentary ‘2nd Chance’ Copes with a National ‘Wholesale Loss of Truth’

‘Palm Trees and Power Lines’ Star Jonathan Tucker Goes Dark As a Creepy Older Guy

Features

Female Filmmakers Dominate Sundance 2022 Beyond Just the Stats, from Big Sales to Buzzy Titles

Kanye West Never Signed a Release, but Netflix Didn’t Care: Inside the Gold Rush for Archival Docs

How I Shot That: The Cameras and Cinematography of Sundance Scripted Narrative Films

How I Shot That: The Cameras and Cinematography of Sundance Nonfiction Films

Sundance Filmmakers Shouldn’t Direct Blockbusters Just Because They Can

‘Jihad Rehab’: How 9/11 Turned Firefighter Meg Smaker Into a Sundance Filmmaker

Could ‘Call Jane’ Be the Abortion Drama Made for the Mainstream Arthouse Audience?

Life After ‘Zombieland’: Why Emma Stone Launched Producing Career with Jesse Eisenberg’s First Feature

Sundance Box Office Is No Longer an Accurate Reflection of the Festival’s Influence

Sundance Helped Launch the Metaverse Industry, but Isn’t Thrilled About the Future of the Business

Lineup and Pre-Festival Announcements and News

Sundance 2022 Lineup: New Films from Lena Dunham, Amy Poehler, Jesse Eisenberg, and More

How to Buy Tickets for the All-Virtual Sundance Film Festival

Marielle Heller, Andrew Haigh, Joey Soloway, and More to Lead Sundance 2022 Juries

Sundance 2022 Goes Virtual: Festival Cancels In-Person Events Amid Omicron Surge

Pre-Festival Analysis

Sundance Wish List: 40 Films We Hope Will Premiere at the 2022 Festival

Sundance 2022: 18 Must-See Festival Films You Can Stream at Home

Sundance 2022: 15 Movies That Could Sell Big at a Festival Heavy with Genre Films and Docs

Sundance 2022: 10 Must-See Films from Black Filmmakers at This Year’s Festival

Sundance 2022: 10 Must-See Short Films at This Year’s Virtual Festival

Why Sundance Finally Canceled Its Physical Edition, and What Happens Next

News Orgs Are the Next Breed of Doc Heavy-Hitters; At Sundance, They’re Ready to Buy Big

Podcasts, Press Conferences, Panels, and Events

IndieWire and Canada Goose Honor First-Time Filmmakers at Sundance Virtual Event

Producer Karin Chien Shares Keynote at Sundance Film Festival 2022

How to Socialize at Sundance 2022 from Your Living Room

IndieWire and Canada Goose Will Celebrate Sundance First-Time Filmmakers at Virtual Event

Sundance 2022: Burning Questions About Which Movies Will Soar as Virtual Festival Takes Off

Clips, Trailers, Posters, and More

‘State of the Union’ Trailer: Patricia Clarkson and Brendan Gleeson Take Over as Season 2 Couple in a Crisis

‘Girl Picture’ Trailer: Three Women Pursue Sex, Love, and Pleasure in Sundance Premiere

‘We Need to Talk About Cosby’ Trailer: Docuseries Charts the Rise and Fall of ‘America’s Dad’

Acquisitions

‘Fire of Love’ Is Sundance’s First Big Sale, but It’s No Record-Breaker. That’s Good News for Theatrical Distributors

Sundance 2022 Deals: The Complete List of Festival Purchases So Far

Searchlight Buys Sundance Midnight Pick ‘Fresh’ for Straight-to-Hulu Release

Awards

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