Limited access or no, in Sundance we trust! 2024 brings with it a fresh crop of intriguing titles, and we were lucky enough to get our hands on a few of them. Our full coverage of this year’s exciting festival options is featured after the jump.
Films
Àma Gloria
(Written by Intern, Shaun E) Àma Gloria brings the warmth of Cape Verde oceans and an unconventional mother-daughter bond to Sundance 2024. French 6-year-old Cléo (Louise Mauroy-Panzani) loves her nanny, Gloria (Ilça Moreno Zego), who has raised her since infancy. When Gloria returns to her home island to Cléo’s dismay, her father (Arnaud Rebotini) allows her to follow her nanny to Cape Verde for the summer. Culture shock, language barriers, and a sudden dynamic change with Gloria’s own two children create emotional discord within Cléo, which is made more complicated when she learns Gloria does not intend to return to Paris. Writer/director Marie Amachoukeli-Barsacq gets close to the characters with the camera, providing a sense of intimacy in drawn-out sequences. The old-school aspect ratio emulates a collection of home videos, with much credit granted to the lead cast for their strong chemistry and moving performances. Àma Gloria takes its time to introduce higher emotional stakes in favor of stylistic animated dream sequences and lingering slice-of-life scenes. This makes for a slower watch until the latter third, and ends with a rather quick de-escalation of the deeply emotional climax that feels somewhat abruptly resolved. The film touches on the complexity of family, culture, and economic disparities, yet does not present itself as having the answer to these problems. Instead, it centers on a young child facing and overcoming the fear of abandonment and exclusion, which may hold the story back from expanding on more heightened drama. While there is no denying the endearing heart of the film, Àma Gloria feels more like a memory than a narrative, leaving some viewers wanting more.
ETERNAL YOU
(Written by Allison Brown) With exhilarating television like Upload and Black Mirror’s “San Junipero” episode exploring the concept of a virtual existence after death, it is no surprise that life would eventually begin to imitate art. Eternal You explores this notion and its real-world applications. How can we begin to find a way to keep our loved one’s spirit alive after they pass? Is this something we should do if it were achievable, or should we accept that someone has permanently ceased to exist after their time on earth has ended? A well-balanced look at that the topic at hand is laid out in discussing ethics, psychology, religion, the supernatural, predatory business practices, inventor responsibility, first-hand users, and highlighting the artificial intelligence technology currently in the works. Personally, it feels a bit questionable that many of the featured beta testers seem to believe their late relative is present in the code they had to directly feed historical data to bring into being. Nevertheless, in an ideal application, software would help one revisit and adjust their final interactions, get over regret, and move on. The currently existing companies seem to be grossly manipulative towards those grieving, preying on desperation, guilt, and religious and paranormal beliefs. While there is a lot said, unfortunately much of it does not feel like a new conversation; as a result, it is not entirely compelling for those already tracking ChatGPT and the near-future extent of its power.
GIRLS WILL BE GIRLS
Full review at the link.
KIDNAPPING INC.
(Written by Intern, Shaun E) Throughout Kidnapping Inc., the viewer is unable to stop asking: what is the worst that could happen? Each time, with ridiculous twists and frantic turns in the crowded streets of Haiti, this vibrant crime thriller delivers. Following bumbling kidnappers Doc (Jasmuel Andri) and Zoe (Rolapthon Mercure), the two dig themselves into an ever-deeper hole after accidentally killing their ransom victim, the son of a presidential candidate. Every new plan they come up with to fix the situation seems to go awry. These partners in crime unexpectedly become involved with a pregnant couple, a mercenary on their tail, and a complex web of deception around political powers at hand. Director Bruno Mourral has plain old fun with action scenes chock full of slow-motion, go-pro cameras, and a vibrant color palette. Characters shout over each other with frustration, and claustrophobic crowds push in on the excitement to create an intentionally over-stimulating experience. The viewer is immersed in the liveliness of the island through this chaotic picture, and even background civilians bring their own charm to the screen. Sometimes the cacophony of noise drowns out emotional tension, and makes it difficult to follow developing arcs as exclamatory dialogue runs in circles without clear direction. The film is a funny, entertaining time, yet the cartoonish slapstick somewhat clashes with the austere message bookending the story about the issue of kidnapping and insecurity in Haiti. Whiplash between genres and moods can be wildly successful; after all, what makes a tragedy more tragic than comedy? Kidnapping Inc. brings strong chemistry between actors and eye-catching visuals. However, the combination of vulgar humor with serious social and political commentary crammed in the latter third falls short of delivering a perfect storm and a clear message.
SEBASTIAN
Full review at the link.
TENDABERRY
(Written by Intern, Shaun E) Stylistic and nostalgic, Tendaberry is an emotional slow burn following a hopeful songwriter in New York City. Twenty-somethings Dakota (Kota Johan) and Yuri (Yuri Pleskun) fall in love and live together in their small apartment. When Yuri returns to Ukraine to care for his father, Dakota’s life feels emptier than ever as she faces the hardships of living in the city. The character driven story is intercut with narration about the history of Coney Island, and archival footage of a man who documented his life in NYC in the 80s. What the film lacks in focused plotline and efficient storytelling, it makes up for in visual texture and realistic acting. Writer/director Haley Elizabeth Anderson makes no rush to introduce conflict, and spends more time voyeuristically surveying the environment with the lens. The handheld camera is overwhelming to the senses—at times distracting—but it also reflects a sense of chaos and roughness of the characters’ circumstances. There is a certain appeal brought by the contrast of flickering film reels to luxurious high-res slow motion shots. However, one may question just how all the inserted clips serve the story beyond cinematic fluff. Tendaberry is a love letter to the Coney Island area, the liveliness of city-goers, and memories of simpler times. For some, the leisurely pace and vague sense of direct plot may feel unengaging and anticlimactic. Others may find solace in the poetic ruminations of human connection and what it means to be an individual trying to make their mark on the world. Anderson captures a dreamy aesthetic, yet an over-indulgent focus on emotional ambience makes the central narrative feel lost along the way.
Thelma
Full review at the link.
This year, Sebastian was Josh’s favorite film, whilst Allison’s were Thelma and Suncoast. Who knows what next year will bring, but we are definitely looking forward to the delights of the Sundance Film Festival forevermore!