The IndieWire Sundance 2020 Bible: Every Review, Interview, and News Item Posted During the Festival
IndieWire Staff
Lineup and Pre-Festival Announcements and News
Sundance 2020 Announces Features Lineup: Films From Rees, Zeitlin, Plus Surprise Taylor Swift Doc
Sundance 2020 Reveals New Frontier Slate, Including Films and VR Experiences
Sundance 2020 Sets TV and Shorts Lineups with Sarah Polley, Steve James, and Lin-Manuel Miranda
Sundance Film Festival Announces Travel Stipend for Minority Journalists
Sundance 2020 Juries Include Ethan Hawke, Dee Rees, Nanfu Wang, Isabella Rossellini, and More
Pre-Festival Analysis
Sundance 2020: 20 Must-See Films and Series At This Year’s Festival, From ‘Zola’ to ‘Kajillionaire’
Sundance 2020: The LGBTQ Films We Can’t Wait to See in Park City
Sundance Wish List: 60 Films We Hope Will Head to Park City in 2020
Sundance 2020: 23 Films Poised to Break Out, With a Few Hidden Gems
Sundance 2020 Oscar Preview: Keep Your Eye on the Documentaries
Film and Television Reviews
‘Lost Girls’ Review: Amy Ryan’s Fury Burns Through Liz Garbus’ Unsettling True Crime Tragedy
‘The Father’ Review: Anthony Hopkins and Olivia Colman Inside the Brutal Matrix of Dementia
‘McMillions’ Review: McDonald’s Wild Monopoly Scandal Gets an Immensely Entertaining HBO Doc
‘Horse Girl’ Review: Alison Brie’s Best Performance Is Trapped in a Peculiar Mental Health Dramedy
‘Nine Days’ Review: Winston Duke and Zazie Beetz Salvage a Literal-Minded Soul-Searching Drama
‘Tesla’ Review: Ethan Hawke Powers a Strange Biopic About How We’re All Wired Differently
‘The Last Thing He Wanted’ Review: Dee Rees’ Joan Didion Adaptation Is an Incoherent Misfire
‘Lance’ Review: ESPN’s Absorbing Lance Armstrong Documentary Still Reveals Little
‘City So Real’ Review: Steve James’ Gripping Sundance Doc on Chicago Politics Is a Must-See
‘The Evening Hour’ Review: The Warmest Movie You’ll Ever See About the Opioid Crisis
‘Disclosure’ Review: Laverne Cox’s Moving Survey of Trans Representation Onscreen
‘The Nest’ Review: Carrie Coon and Jude Law Sizzle in Sean Durkin’s Icy Indictment of Wealth
‘Amulet’ Review: Romola Garai’s Chilling Directorial Debut Announces Smart New Horror Voice
‘Minari’ Review: Steven Yeun Stars in Lee Isaac Chung’s Immensely Moving Immigrant Story
‘Downhill’ Review: Julia Louis-Dreyfus Shines in an Otherwise Unnecessary and Uneven Remake
‘The Glorias’ Review: Julie Taymor’s Inventive Gloria Steinem Biopic Matches Subject and Storyteller
‘Welcome to Chechnya’ Review: David France’s Third LGBTQ Rights Film Is Devastatingly Brave
‘Assassins’ Review: A Clear Documentary About the Craziest Murder of the 21st Century
‘Kajillionaire’ Review: Evan Rachel Wood Elevates Miranda July’s Quirky Con Story
‘Possessor’ Review: Brandon Cronenberg’s Gory Techno-Thriller Gets Under Your Skin
‘Dick Johnson Is Dead’ Review: A Touching Elegy to a Man Who’s Still Alive
‘Uncle Frank’ Review: Paul Bettany Rises Above Mawkish ’70s Dramedy From Alan Ball
‘On the Record’ Review: Russell Simmons Sexual Harassment Story Celebrates Victims Who Speak Up
‘Wander Darkly’ Review: Sienna Miller Grounds an Unwieldy Dark Spin on ‘Eternal Sunshine’
‘Shirley’ Review: Elisabeth Moss Is Shirley Jackson in a Feverish Psychodrama About Female Identity
‘The Mole Agent’ Review: The Most Heartwarming Spy Movie Ever Made
‘Boys State’ Review: When Texan Teens Take Over the Government, Democracy Gets Ugly
‘The Night House’ Review: A Haunted Rebecca Hall Carries One of the Loudest Horror Movies Ever Made
‘Worth’ Review: Michael Keaton Anchors a Sensitive Drama About Insurmountable American Tragedy
‘The Dissident’ Review: Murdered Journalist Jamal Khashoggi’s Tragic Fate Is a Somber Call to Action
‘Never Rarely Sometimes Always’ Review: Eliza Hittman’s Candid Abortion Drama Hits Hard
‘Jumbo’ Review: Portrait of a Lady Having Sex With a Theme Park Ride
‘La Llorona’ Review: An Artful Guatemalan Horror Movie About the Ghosts of a Genocide
‘Zola’ Review: A Wild Road-Trip Comedy Just as Fun as the Tweets Behind It
‘Miss Juneteenth’ Review: A Sprawling Mother-Daughter Drama About the Price of the American Dream
‘Black Bear’ Review: Aubrey Plaza Leads a Witty and Razor-Sharp Genre-Bending Riot
‘Herself’ Review: Phyllida Lloyd’s Empathetic Domestic Abuse Drama Earns Its Tears
‘The Fight’ Review: ‘Weiner’ Team Follows the ACLU in Inspiring, Infuriating Documentary
‘Bad Hair’ Review: A Killer Weave Just Won’t Quit in Justin Simien’s Demented Horror-Satire
‘Miss Americana’ Review: Taylor Swift Reclaims Her Narrative in Thrilling Netflix Doc
‘The Painter and the Thief’ Review: A Tender Psychosexual Tale of Art and Ownership
‘Cuties’ Review: Netflix Coming-of-Age Tale Goes for the Supernatural When Real Life Is Enough
Interviews
‘Downhill’: Julia Louis-Dreyfus on the Appealing Ambiguity of the ‘Force Majeure’ Remake
How the Ross Brothers Pulled Off ‘Bloody Nose, Empty Pockets’: They Have Nothing to Hide
‘Worth’ Tells a Forgotten 9/11 Story About How to Calculate the Value of a Human Life
Hillary Clinton Is ‘Disappointed’ by Lack of Female Director Oscar Nominees
‘Us Kids’: Parkland Survivor David Hogg Says Government Works for Us, Not the Other Way Around
Radha Blank: Joke About Writing Harriet Tubman Musical in ’40-Year-Old Version’ Is All Too Real
Sundance: ‘Bad Hair’ Team on Using Classic Horror Tropes to Tell a Provocative Black Story
How Sundance Documentary ‘Giving Voice’ Keeps August Wilson’s Legacy Alive
Sundance: Toni Collette on Why ‘There’s No Way’ She’ll Ever Watch ‘Midsommar’
Sundance Doc ‘Us Kids’ Chronicles Parkland’s Impact on Young Activists Fighting Gun Violence
Sundance 2020: How VFX Pulled ‘Welcome to Chechnya’ Out of the Shadows — Exclusive
‘Wendy’: Inside the 7-Year Journey of Benh Zeitlin’s ‘Beasts of the Southern Wild’ Follow-Up
Features
As Sundance Finally Makes Big Deals, It’s Ruled By Streaming
Sundance 2020: Some of Its Best Documentaries Will Change the Way Stories Are Told
Quibi Takes on Sundance With First-Ever Previews as Lena Waithe Praises the Business Model
Sundance Embraces Streaming, Even As It Weighs the Risks
Sundance 2020: The Most Diverse Lineup in History Shows Effort to Reach Underrepresented Communities
How I Shot That: Here Are the Cameras Used to Shoot This Year’s Sundance Films
Sundance 2020: Documentaries and Docuseries Are Among the Hottest Buys For Streamers
Sundance 2020 Market: 12 Movies That Might Sell Big in Park City
Podcasts, Press Conferences, Panels, and Events
Screen Talk Live at Sundance: Burning Questions About Film Industry’s Future From Park City
Sundance: Female Filmmakers Celebrated at IndieWire Dinner Presented by Canada Goose
IndieWire Celebrates Female Filmmakers at Sundance Dinner With Canada Goose
At Sundance, Russell Simmons Accusers Respond to Doc Controversy: ‘This Is Where Allies Matter’
Oscar Season Versus Sundance: Here’s What the Crowded Season Says About the Film Industry
Dropbox Returns to Sundance to Celebrate the Art of Collaboration
IndieWire Announces the Return of the IndieWire Studio at Sundance 2020
‘The Climb’ Screening and Q&A Will Be Broadcast to Theaters Nationwide from Sundance
Clips, Trailers, Posters, and More
‘The Evening Hour’ Teaser: Braden King Returns to Sundance With an Elegiac Appalachian Drama
Olivia Wilde Directs Margaret Qualley in Short Film Shot by Matthew Libatique — Watch Trailer
‘Vitalina Varela’ Exclusive Trailer: Pedro Costa Returns With Award-Winning Festival Favorite
‘The Earth Is Blue as an Orange’ Trailer: Sundance Doc Blends Wartime Trauma With Cinematic Healing
‘Charter’ Trailer: ‘Sami Blood’ Filmmaker Amanda Kernell Returns With Dramatic Sundance Contender
‘Never Rarely Sometimes Always’ Trailer: Eliza Hittman Returns to Sundance to Crush You
Acquisitions
Sundance 2020 Deals: The Complete List of Festival Purchases So Far
