Sundance was a wild ride. From psychologically challenging thrillers to compelling documentaries to best friends with bucket lists and everything in between, there was a lot to experience and Taylor and I were honored to have been able to participate with the festival this year for the first time!

Reflection on the films we saw at Sundance could go on for weeks. But Taylor and I are drawing things to a close with this final wrap-up of notable films each of us had the privilege to experience at this year’s virtual festival.

To read other full reviews and find our coverage of Sundance 2021, just go here. Meanwhile, enjoy these final thoughts on 2021 Sundance films!

Censor (2021) dir. Prano Bailey-Bond

Thomas: At its core, Censor has a fascinating premise. It’s only the execution that’s lacking, with not enough glue to hold its best components together.

Taylor: Censor isn’t the grand ode to the video nasties of the 1980s that horror fans might be craving, but it shows glimmers of promise in the direction of Prano Bailey-Bond. After that, it is a frustrating stumble towards the finish line.

Ma Belle, My Beauty (2021) dir. Marion Hill

Taylor: A good film to lounge and drink along with, which you can do all while taking in the sumptuous, sun-bathed scenery of the French countryside. It unfolds in a very naturalistic manner and never succumbs to the trappings of melodrama (which its initial premise might invite). Unfortunately, it doesn’t quite stick the landing.

Passing (2021) dir. Rebecca Hall

Thomas: The concept of Passing is a topic not discussed enough in American history, but Rebecca Hall puts great talent and a unique perspective behind the topic here in Passing. While I’d like to see Tessa Thompson in these roles of strength without being emotionally crippled by a man (like her role in last year’s Sylvie’s Love), her chemistry with Ruth Negga keeps the film intriguing, as well as the artistic flare of the black and white cinematography.

The World To Come (2021) dir. Mona Fastvold

Taylor: Lovingly realized and overflowing with prosaic sentimentality. The connection between Waterston and Kirby is nothing defiantly unique, but it is deeply felt and palpable. Really, what will hold this back from being a favourite is that it's just too predictable, too intent on treading familiar ground.

Cusp (2021) dir. Isabel Bethencourt & Parker Hill

Taylor: Think Harmony Korine’s Spring Breakers — but it’s a documentary. You won’t glean any new information about the lives of teenage girls from this film, but you may be won over by the evocative tone. This film treads into some exploitative territory, but it is otherwise a sensitive exploration.

Prisoners Of The Ghostland (2021) dir. Sion Sono

Thomas: If off-the-wall absurdity is what you want out of a film, Prisoners Of The Ghostland delivers. Almost like an odyssey though a surrealistic fantastical land - The Wizard Of Oz or even Spirited Away, but more grimy - the mission Nicholas Cage is tasked with goes from bizarre to bonkers. This is not my ideal preference in entertainment, but with a proper expectation of what the 133 minute feature has in store, it’s not hard to at least admire the production.

Knocking (2021) dir. Frida Kempff

Taylor: A simple but effective psychological thriller reminiscent of Polanski’s Repulsion. The rich sound work and colours elevate this self-contained story of a woman’s unraveling. Some under-developed elements derail things slightly, but this is an otherwise impressive project.

Marvelous and the Black Hole (2021) dir. Kate Tsang

Taylor: Kate Tsang’s debut bristles with an infectious energy. The sardonic tone never bears many teeth, but that’s kind of the point — this is a fun, charming, and cute crowd-pleaser that will win over audiences of all ages. Sure to be picked up by Netflix.

All Light, Everywhere (2021) dir. Theo Anthony

Taylor: The grand and spacey sounding score, paired with almost robotic narration make this documentary feel like it is being beamed to us from some omnipotent database of human consciousness. This is an arresting work that is both sweeping in its take on modes of seeing throughout history, and urgent in its critique of modern forms of surveillance.

Summer Of Soul (…Or, When The Revolution Could Not Be Televised) [2021] dir. Ahmir “Questlove” Thompson

Thomas: Summer Of Soul does a fantastic job of recapturing the spirit of this landmark event in history. The music is phenomenal, and while the doc could’ve held up just on the festival footage alone, it was an added bonus to have commentary from attendees and a couple of the artists about the significance of the event at that time.

Taylor: Summer Of Soul is overflowing with love and energy, and, of course, a killer soundtrack. The Harlem Cultural Festival was a watershed moment in U.S. culture and politics, and it is made vivid for us once again in Questlove’s thorough approach.

Strawberry Mansion (2021) dir. Kentucker Audley & Albert Birney

Taylor: A zany and colourful take on a Philip K. Dick-style premise with a DIY-aesthetic that makes the most of a modest budget. This film will charm some, but will come across as overly goofy and cloying otherwise. It is sort of like one of those Adult Swim shorts on YouTube (think Too Many Cooks), but it runs way too long.

Wild Indian (2021) dir. Lyle Mitchell Corbine Jr.

Thomas: While Wild Indian is entertaining enough to watch, interesting themes seem to take a back seat to the internal conflicts of the film’s main character. The story certainly develops these two characters, Makwa and Ted-O, from kids involved with tradgedy to adults whose lives couldn’t have turned out more different, but I would’ve liked to see more intricacies in the plot to demonstrate why. Regardless, Chaske Spencer plays a compelling role as grown-up Ted-O and Michael Greyeyes makes for a villainous main character, and that’s what keeps the film captivating.