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“Mom, do you think I can be political?” asks teenage YouTube musician Ziggy Katz (a wide-eyed Finn Wolfhard) to his uptight mom Evelyn (the consistently stellar Julianne Moore). There’s no shortcut to sounding smart, she replies, you have to do the work.

2022 is already starting to feel like 2021, which felt a lot like 2020. As if we’re stuck in a neverending loop of awful, it appears the COVID pandemic is already making film festivals scramble thanks to the Omicron variant that is spreading like wildfire around the world.

The #MeToo movement has made it increasingly difficult to talk about separating the art from the artist. Can you do it? Is it worth trying? And are there varying degrees of misconduct that make it easier for you to support one disgraced artist from another? This is part of the discussion presented in the new Showtime docuseries, “We Need to Talk About Cosby.” READ MORE: The Best Documentaries Of 2021 Created by stand-up comedian W.

The unveiling of the 2022 Sundance Film Festival line-up was decidedly unique. For the first time in recent memory, acquisition films are dominating the proceedings.

As we approach the end of 2021, it’s time to look ahead at what’s to come in 2022. More specifically, we can begin to look ahead at the film festivals of the new year.

opened to acclaim in January at the Sundance Film Festival, plays out in that claustrophobic room, where the four parents sit around a small table and begin to talk, awkwardly at first, about the incident — before cycling through hatred, sympathy and cautious understanding. Ultimately, each character experiences a personal epiphany in trying to make sense of a senseless tragedy.“I think what happens [with Linda], honestly, as a parent .

Sundance International Film Festival allows for a wide variety of unique and personal films to be screened each year. Such allows for several emotional and difficult stories to be told throughout the festival.

Ma Belle, My Beauty, a romance à trois set amidst the sun-kissed hills of Anduze, in the south of France.

AppleTV+ has gone for more meat-and-potatoes fare, including the feel-good TV show “Ted Lasso” and the soulful new dramedy “CODA” that they snagged for $25 million at the 2021 Sundance Film Festival.

We haven’t even begun the circuit of fall film festivals this year, but the folks at Sundance are already deep into planning their 2022 event. And with COVID cases spiking around the US, it appears the Sundance organizers aren’t going to take any chances, with a vaccination requirement for all of those people that want to attend the event.

Tomris Laffly While the world, at least parts of it privileged enough to have easy vaccine access, is just starting to peel itself away from lockdown and reflect on the loneliness of the past year, artists have been trying to make sense of it all for months now.

her directing debut, however, is its soulfulness. Her character, Edee, isn’t some spoiled brat stranded in the woods like Tea Leoni in “Six Days Seven Nights”; she is a traumatized woman trying to rebuild her life from the ground up.Edee’s reality has been shattered by a family tragedy, so she packs up the car and leaves the city behind for a cabin deep in the Wyoming wilderness far removed from civilization.

Get Out” in 2017, and he hasn’t let up since. His performances in “Black Panther” and “Queen & Slim” were every bit as forceful as his horror hit, but he’s topped them all with this one.

A sun-flared and bong-addled tumble into a teenage Texan summer rife with bombshells and boyfriend problems, “Cusp,” from debut directors Parker Hill and Isabel Bethencourt is one of those fractal-style documentaries, in which any given sliver contains all the colors and contours of the whole.

Fran Kranz’s “Mass” is likely one of the most emotionally pulverizing films ever made about America’s gun-violence epidemic – but across its 110-minute runtime, not a single shot is fired.

Take the nomad out of “Nomadland,” and you’re left with “Land,” Robin Wright‘s feature-directing debut (she previously directed 10 episodes of “House of Cards“), in which she also stars, as a grieving woman who, somewhat ironically given the film bows in the era of mandatory isolation, moves way up into the mountains “to get away from people.” Problem is, take the nomadic element out of “Nomadland” (she moves only once and has done with it) and you’re also left with a less interesting, much more

I did), you will see genius (I did), but you generally won’t see the highly anticipated mega hits found in Toronto, where “Joker” and “Hustlers” premiered. At Sundance, you’re just as likely to encounter “Call Me by Your Name,” a rapturous love story, as you are “Swiss Army Man,” a little-known flick in which Daniel Radcliffe pals around with a farting corpse.

It’s remarkably rare that anyone makes a hand-drawn animated feature for adults, let alone one as strikingly surreal and seriously minded as Dash Shaw’s “Cryptozoo.” READ MORE: 25 Most Anticipated 2021 Sundance Film Festival Premieres This Sundance premiere – honored with the fest’s Innovator Award in its NEXT section for “pure, bold works distinguished by an innovative, forward-thinking approach to storytelling” – takes place in an alt-history 1960s secretly populated by “cryptids,” including

Irene (Tessa Thompson) rarely passes for white. She fears for her safety too much to do so.

Female trauma’s been given a serious workout in cinema, liberally exercised in the fantasy genre of late.

What does dismantling the American carceral state look like? How can meaningful and radical police reform actually be enacted? After years of tireless work by activists, acting upon decades of injustice against the poor and People of Color, these issues of now part of mainstream political platforms.

S.O.S distress calls, fantasy escape from trauma, and forever wars that need to be fought all swirl together in “Mayday,” a dreamy and surreal new feminist fairy tale and revenge film that debuted at the Sundance Film Festival this week. The feature-length filmmaking debut of writer/director Karen Cinorre, “Mayday” centers on Ana, a young woman who is mysteriously transported to an otherworldly and dangerous island.

Curious is the current emphasis on women’s trauma in American genre film—the way it’s discussed online, marketed, singled out in the headlines—as if trauma were not already deeply embedded in the historical fabric of horror movies. Of course, in a time when more women filmmakers than ever are being given the opportunity to tell their stories, the rise of feminist horror should come as no surprise, especially given the #MeToo phenomenon and efforts to destigmatize mental illness.

For the first time in recent memory, the Sundance Film Festival recruited just three members each for its competition juries. Even in the context of a virtual festival, that might have been a mistake after one film dominated the Dramatic category winning four awards.