Quickfire: Sundance London Film Festival 2024

Those of you who know me are fully aware that attending Sundance London is a personal tradition of mine (I've been attending since 2018). This year, after once again descending upon Picturehouse Central to haunt its screens, I decided to create a quick, comprehensive write up of all 6 films I watched to give you an idea of what each film is like before they're released.

Image: Sundance Institute

Didi ****

Image from Sundance Institute

An honest and heartfelt look at growing up in the late 00s as a 2nd generation immigrant, Didi crafts a relatable coming of age story that tackles teenage sources of anxiety such as struggling to fit in, relationships, and (for millennials and gen z) navigating social media. It covers the good, the bad, and the messy moments of figuring out who you are, and culture clashes that come from having family that moved from their home country. Perhaps I'm biased because it's the first film I've seen that most closely reflects my childhood (I'm a child of the 00s and 10s), and I'm from an "immigrant" family (I'm 3rd gen, if that counts), but I think there's something universally relatable in Didi.

Never Look Away **1/2

Image from Sundance Institute

With an admirable first effort as a director, Lucy Lawless' 'Never Look Away' focuses on the fascinating life and career of war photojournalist Margaret Moth. Moth was an undeniably interesting subject: refusing to evacuate and instead climbing to the rooftop of a building

upon learning of an imminent missile strike, driving directly into warzones and her distinctive personal style all attest to that. It's a true shame, however, that after a compelling first act, it takes an extended pit stop on her love life as opposed to what we're all here for. Of course it makes sense to feature former lovers, but once the documentary becomes mostly relationship anecdotes with little mention as to how her career affects this until the final act, we have a problem. Perhaps there was an issue stretching this out into feature length? Maybe the heavy details into her personal life was more of an appeal to delve deeper into her character? Regardless, the decision to look closer at her love life as opposed to her career and motivations was noticeable, and the film suffered for it.

Kneecap ***

Image from Sundance Institute

Kneecap presents itself as a fun origin story of the Irish-language rap group from Belfast, but also acts as an important socio-political example of the significance of language and culture. There truly is a lot of fun to be had; it's unapologetically Irish, and, despite how messy it is, the film's style and presentation is a breath of fresh air. I was fortunate enough to have been in a screening with a Q&A at the end, and I can confidently say it was the most chaotic, unhinged Q&A session I've ever been in attendance for.

I Saw the TV Glow ****

Image from Sundance Institute

Potential spoilers ahead

I feel at this point in this film's review cycle, there isn't much I can say that hasn't already been said. I wasn't the biggest fan of writer-director Jane Schoenbrun's 'We're All Going to the World's Fair', but the sense of loneliness and estrangement stuck with me. It is truly palpable in this film, in a way that feels like an organic, no-explanation-needed progression from what came before it. I Saw the TV Glow is a film that demonstrates the horrors of not being true to yourself (in this film's case, more specifically in the context of being trans/nonbinary) and suffering the consequences of never allowing yourself to become who you truly are. It's an anti-coming of age film in a way - rather than have Owen (Justice Smith) go along with what the plot (and Maddy, played by Brigette Lundy-Paine) places in his path, he does nothing but resist. Rather than rise to the challenge of life's difficulties, he avoids. I'm aware I may not be the exact target demographic Shoenbrun is aiming for with this film, but it aptly encapsulates the fears of what I may or may not amount to, and what I may come to regret once I hit a certain age.

Sasquatch Sunset ***

Image from Sundance Institute

After hearing mixed reviews, I wasn't quite sure what to expect on my way into Sasquatch Sunset. I'd heard very little about the plot, and the trailer shows next to nothing. What a refreshing feeling to know nothing. I walked out fairly impressed. For the first ~25 minutes, I was patiently waiting for the Zellner Brothers' latest, dialogue-free film to play its hand, and I was not disappointed. A surprisingly moving if not upsetting turn reveals an environmental message at its core. However, the mixed reviews are understandable. The film, undeniably, moves slowly, and I suppose mileage may vary. The ridiculousness at the beginning lulls you into a false sense of security, but I couldn't help but feel it dragged on just a little bit.

My Old Ass ***

Image from Sundance Institute

An endearing, inoffensive comedy about a teenage girl confronted by her "Old Ass" - 39 year old, mind you - self who travelled back in time to warn her about the future. Some of the dialogue is a little iffy, which is to be expeected in a coming of age comedy, but nothing too distracting. I must admit, coming from someone who says "bah humbug" to most romance films presented to me, the chemistry between Maisy Stella and Percy Hynes White was palpable, and it warmed by curmudgeonly heart.