Let's talk about this year's virtual Sundance Film Festival



Clockwise from top: Judas And The Black Messiah (Photo: Warner Bros.); Prisoners Of The Ghostland (Photo: Sundance Film Festival); We’re All Going To The World’s Fair (Photo: Sundance Film Festival)

Clockwise from top: Judas And The Black Messiah (Photo: Warner Bros.); Prisoners Of The Ghostland (Photo: Sundance Film Festival); We’re All Going To The World’s Fair (Photo: Sundance Film Festival)
Graphic: Baraka Kaseko

Every January, thousands of people fly into Utah and then descend on the sleepy ski town of Park City for the annual movie-lover summit that is Sundance. Not this January, though. Because we’re still snowed in, so to speak, by the dangers of an ongoing pandemic, America’s most popular and prominent film festival went largely online in 2021. Did this change in format change the fabled Sundance experience? And how were the films themselves this year? Reporting “from” Sundance—which it to say, their living rooms—critics A.A. Dowd and Katie Rife discuss this unusual year for the festival, including some of its most prominent and talked-about titles.

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