Sundance brings A-list stars for Park City’s curtain call

Natalie Portman and Jenna Ortega appear in The Gallerist by Cathy Yan, an official selection of the 2026 Sundance Film Festival. Photo: Courtesy of Sundance Institute | photo by MRC II Distribution Company L.P.

PARK CITY, Utah — The sad, final chapter of the Sundance Film Festival Park City edition is upon us. This year is especially tender following the passing of Festival founder and legendary actor-director Robert Redford. The Festival officially begins Thursday, Jan. 22. It will be held in its new home next year in Boulder, Colo. Let’s make the most of this final Park City celebration with star-studded films that are coming to Main Street.

“Antiheroine”

Singer, songwriter, and actor Courtney Love (Hole) has long had an impact on rock and pop culture. Now sober and set to release new music for the first time in over a decade, Courtney is ready to reveal her story, unfiltered and unapologetic.

“Broken English”

This Spotlight film titled after her ‘comeback’ studio album is a portrait of the singer-songwriter Marianne Faithfull. Faithfull has been referred to as a muse to artists like the Rolling Stones, she reached the UK Top 10 with “As Tears Go By” written by Mick Jagger and Keith Richards, she also co-wrote Sister Morphine with the duo. Alongside many solo albums she acted in films like “The Girl on a Motorcycle.” She struggled with anorexia, heroin abuse, and homelessness. Her album “Broken English” earned her a nomination for a Grammy Award for Best Female Rock Vocal Performance

“The filmmakers introduce us to the Ministry of Not Forgetting, a fictitious research facility where Tilda Swinton (“The Chronicles of Narnia,” “Michael Clayton”) and George MacKay (“1917″) begin an inquiry into Marianne Faithfull’s life and career. The British iconoclast is a willing interviewee — sharp and witty. Her dynamic presence is complemented by rich archival footage and several moving performances by the singer herself, as well as Beth Orton, Courtney Love, Nick Cave, and Suki Waterhouse. Broken English is a playful and wildly original portrait of a musician who refused to conform. Gone, but certainly not forgotten.”

“Buddy”

“Buddy” is a Midnight film about a girl and her friends who must escape a kids’ television show. The film has a star-packed cast with Topher Grace (“That 70s Show,” ” Heretic”), Keegan-Michael Key (“Key and Peele,” “Mad TV”), Michael Shannon (“Boardwalk Empire,” “The Shape of Water”), Patton Oswalt (“The King of Queens,” “Ratatouille”), and Cristin Milioti (“How I Met Your Mother,” “The Penguin.”)

“Carousel”

A divorced doctor’s, Chris Pine (“Star Trek,” “Wonder Woman”) carefully constructed life in Cleveland is upended when his daughter’s debate aspirations and the unexpected return of a past love, Jenny Slate (“Parks and Recreation,” “It Ends with Us”) force him to confront his own choices and embrace a second chance.

“Chasing Summer”

After losing both her job and boyfriend, Jamie retreats to her small Texas hometown, where friends and flings from a fateful high school summer turn her life upside down. This Premiere feature stars Iliza Shlesinger (“Elder Millennial,” “Hot Since Forever”), Lola Tung (The Summer I Turned Pretty), and Megan Mullaly (“Will & Grace,” “Parks and Recreation,” “Bob’s Burgers”).

“Fing!”

In this Family Matinee, a demanding little girl and her parents, the Meeks, battle an outrageously entitled viscount, Taika Waititi (“What We Do in the Shadows,” “Jojo Rabbit”) to protect their rare, furry, one-eyed Fing from those fixated on exploiting this wondrous creature.

“Gail Daughtry and the Celebrity Sex Pass”

Midwestern bride-to-be Gail Daughtry, Zoey Deutch (“Vampire Academy,” “Before I Fall,” “Why Him?”) has a “free celebrity pass” agreement with her fiancé, who uses it. With her relationship in crisis, Gail sets out on an epic journey through Hollywood to even the scales with Jon Hamm (“Mad Men,” “Bridesmaids”). John Slattery (“Mad Men,” “Spotlight”) and Ken Marino (“Party Down,” “Children’s Hospital”) add to the cast as well.

“The Gallerist”

Preparing for her Art Basel premiere, gallerist Polina Polinski (Natalie Portman; “Black Swan,” “Garden State,” “Thor”) hosts an early look for art influencer Dalton Hardberry (Zach Galifianakis; “The Hangover,” “Baskets”) to review emerging artist Stella Burgess (Da’Vine Joy Randolph; “The Holdovers,” “Eternity”). Dalton’s unimpressed with the gallery until he sees one piece that captures his attention and revs up the ruthless machine of the art world.

The cast is joined by Jenna Ortega (“Wednesday,” “Death of a Unicorn”), Sterling K. Brown (“This is Us,” “Black Panther”), and Catherine Zeta-Jones (“Chicago,” “Traffic”).

“I Want Your Sex”

When fresh-faced Elliot (“Licorice Pizza”) lands a job with artist and provocateur Erika Tracy, Olivia Wilde (“Don’t Worry Darling”, “Booksmart”) his fantasies come true as she taps him to become her sexual muse. But Elliot finds himself out of his depth as Erika takes him on a journey into a world of sex, obsession, power, betrayal, and murder. Daveed Diggs (“Hamilton,” “Snowpiercer”) and Charlie xcx (singer-songwriter) also star in the film, as well as appear in other 2026 Sundance films.

“In The Blink of An Eye”

Three storylines, spanning thousands of years, intersect and reflect on hope, connection, and the circle of life; starring Rashida Jones (“Parks and Recreation”), Kate McKinnon (“Saturday Night Live”), and Daveed Diggs (“Hamilton,” “Snowpiercer”).

From the 2017 Black List script by Colby Day (Spaceman), Andrew Stanton (Wall-E, Finding Nemo) constructs an elegantly interwoven triptych that contemplates the essence of humanity across three moments in time. A Neanderthal family, displaced from their home, struggles to survive, protect the children, and use primitive tools. In the present day, Claire (Rashida Jones), a driven post-grad anthropologist studying ancient proto-human remains, begins a relationship with a fellow student, Greg (Daveed Diggs). And two centuries later, on a spaceship bound for a distant planet, Coakley (Kate McKinnon) and a sentient onboard computer confront a disease afflicting the ship’s oxygen-producing plants. The artful, poetic way the film’s storylines intersect creates a profound, philosophical meditation on how we experience love, loss (of parents and children), mortality and the need for connection — with each other, the natural world, and technology — regardless of our time.

The jury for the Alfred P. Sloan Feature Film Prize deliberated ahead of the Festival and awarded the prize to “In The Blink of An Eye” director Andrew Stanton and screenwriter Colby Day.

“The Incomer”

On a remote Scottish isle, siblings Isla and Sandy hunt birds and talk to mythical beings while fighting off outsiders. Their lives change when Daniel, Domhnall Gleeson (“Ex Machina,” “Harry Potter” franchise, “About Time”) an awkward official, arrives to relocate them.

Relocating a pair of siblings is easier said than done in Louis Paxton’s delightful, uproariously funny, heartwarming first feature. A comedic inflection of Scottish island folklore, The Incomer draws us into its eclectic vision through sublime deadpan humor, formal inventiveness, a sprinkling of animation and fantastical creatures, and the charm of its oddball characters. Having lived in isolation and mistrustful of mainland folk, Isla and Sandy (brilliantly played by Gayle Rankin and Grant O’Rourke) initially try to toss Daniel (Domhnall Gleeson) off the island — literally. But several days and one initiation ritual later, there’s a thaw. The siblings share their lore and Daniel speaks of mainland virtues, like avocados and the internet. Their interactions are fresh and funny, but there’s also a poignant exchange around belonging. These three people — who have experienced isolation, loss, and loneliness — lower their guard and embrace human connection

“The Invite”

Joe and Angela are on thin ice, and tonight might be when it all falls apart. Unfortunately, their upstairs neighbors are about to arrive for dinner, and everything that can go wrong goes worse.

A fiercely energized chamber dramedy, The Invite revitalizes the classic, largely bygone cinema of marital strife. Olivia Wilde’s scenes from a marriage are suitably raw and revealing, but also compassionate, deeply human, and incredibly funny. From a screenplay by Will McCormack and Rashida Jones, the film gleefully plunges two couples,Wilde and Seth Rogen (“The Studio,” “Platonic,”); Penélope Cruz (“Melancholia,” “Vicky Cristina Barcelona”) and Edward Norton, (“Fight Club,” “Birdman,” “Glass Onion”) into the crucible of a seemingly innocuous evening, delighting in its contortions as awkward small talk turns to the unearthing of long-tenured grievances, insecurities, codependencies, failed aspirations, and sexual FOMO. Constructing a vibrant aesthetic and brilliantly orchestrated interactions, Wilde finds a universe of space within one location, and her process — workshopping material with the cast, shooting chronologically (on 35mm!), and inviting them to explore as they worked — gives The Invite a remarkable authenticity.

“Josephine”

Mason Reeves delivers a searching, tender performance as Josephine. As her fiercely protective father and sensitive mom, Channing Tatum (“Magic Mike,” “Roofman”) and Gemma Chan (“Crazy Rich Asians,” “Eternals”) give keenly felt turns as parents who are totally devoted to their struggling, beloved child but are ill-equipped to navigate the upheaval their family faces. Philip Ettinger does unforgettable work in a crucial, complex supporting role.

“The Moment”

A flashy, tongue-in-cheek hyper-pop mockumentary, The Moment is Charli xcx’s (singer-songwriter) creative reflection on her own meteoric success with brat. Directed and co-written by “360” music video director Aidan Zamiri in his feature debut, the film has a stylishly effortless rhythm and a uniquely self-aware, ironic sense of humor. Charli xcx plays an exaggeratedly manic version of herself, surrounded by a cast of characters that mirror both the friends and foes of the era. Hailey Gates and Alexander Skarsgård (“True Blood,” “Big Little Lies”) personify near-diametrically opposed influences in Charli xcx’s dynamic career; pieces in the grand scheme of brat’s enduring cultural power.

“The Musical”

When a frustrated playwright and middle school theater teacher finds out his ex-girlfriend has started dating his nemesis, the school’s principal, he decides to ruin the principal’s chances of winning the Blue Ribbon of Academic Excellence.

Will Brill captivatingly embodies Doug’s stewing toxic resentment as his personal and professional torment transform him from an uncharismatic sad sack into a hilariously dastardly antihero. Brill’s bravura work is supported by veteran actors Rob Lowe (“The Outsiders,” “Parks and Recreation”) and Gillian Jacobs (“Community) as the couple whose relationship spurs Doug’s quest for revenge, as well as the spirited comic turns of the talented young performers portraying the eager middle school theater troupe he influences with his antics.

“The Only Living Pickpocket in New York”

When a theft goes awry, a veteran pickpocket is sent on a mission through New York to reclaim the stolen goods.

Harry (Jon Turturro; “The Good Shepherd,” “Barton Fink,” “Severance”) is a classic native New Yorker, an old-school hustler who has moved through life lubricating palms with pickpocket cash since the 1980s. He stays smooth, continually sharpening his skills, but times are changing for Harry. Now it’s 2025, and the daily take from the streets? Fancy trackable phones. Cashless wallets full of credit cards. Gym bags holding cryptocurrency and guns. Steve Buscemi (“Boardwalk Empire,” “Reservoir Dogs,” “Fargo”) joins Turturro in this Premieres category film.

“Run Amok”

A teenage girl stages an elaborate musical about the one day her high school wishes it could forget.

In her striking debut feature, writer-director NB Mager boldly wades into the thorny aftermath of a school tragedy with thoughtfulness and a refreshing recentering of the young people most directly affected. Working tonal miracles in her script’s balance of dark humor and heartbreak, Mager brings us front and center into the absurdist reality many students in America know all too well — one where adults’ empty promises, reactivity, and platitudes obscure genuine emotional processing. At the heart of it all is a breakout performance from Alyssa Marvin, who embodies Meg in all her layered complexity and affecting persistence as she looks to heal from the impossible. A tender testament to the power of theater told with unconventional charm, Run Amok presents a singular vision that subverts catharsis and honors the lingering lack of answers. Molly Ringwald (“16 Candles,” “St. Elmo’s Fire,” “The Breakfast Club”) and Margaret Cho (“All That We Love,” “Fire Island”) appear in this U.S. Dramatic Competition film.

“See You When I See You”

Jay Duplass makes his return to the Sundance Film Festival with an emotionally complex examination of grief and trauma, balanced perfectly with streaks of levity throughout. “See You When I See You” brings writer Adam Cayton-Holland’s memoir Tragedy Plus Time: A Tragi-Comic Memoir to the screen with an inspired ensemble cast led by fellow Sundance Film Festival alum, director-actor Cooper Raiff (“Cha Cha Real Smooth”), as Aaron Whistler, a young writer struggling to come to terms with the loss of his sister and best friend Leah (Kaitlyn Dever; “Booksmart,” “The Last of Us”). Duplass taps into the millennial milieu of masking sorrow with humor and the devastating mental toll that avoidance can take on the bereaved, ushering us through a parade of ill-advised coping mechanisms and the collateral damage that follows with his trademark sense of compassion and empathy at every turn. David Duchovny (“Californication,” “The X-Files”) stars as Robert Whistler.

“The Shitheads”

Macon Blair makes a welcome return to the Sundance Film Festival following his acclaimed U.S. Dramatic Grand Jury Prize-winner — “I don’t feel at home in this world anymore.” (2017) — with this raucous and wildly entertaining descent into madness. Dave Franco (“Together,” “Now You See Me” franchise) and O’Shea Jackson Jr. (“Den of Thieves” franchise) are perfectly (mis)matched as Mark and Davis, the fumbling circumstantial chaperones in charge of transporting the increasingly psychotic Sheridan (a brilliant Mason Thames). Phenomenal supporting turns from Nicholas Braun (“Succession”), Peter Dinklage (“Game of Thrones”), and Kiernan Shipka (“Twisters”) round out the ensemble cast, each more unexpected and bizarre than the last. Blair treats us to his signature absurdist sense of humor and douses it with gasoline and psychedelics, crafting an uncanny world where the worst intentions net the highest yields and the open road is full of “Shitheads.”

“Tuner”

A gifted piano tuner with a unique auditory condition discovers an unexpected aptitude for cracking safes, turning his life upside down.

Dustin Hoffman (“The Graduate,” “Rainman,” “Hook”) and Leo Woodall (“One Day,” “The White Lotus,” “Prime Target”) share a crackling, tender chemistry as Harry and Niki, a veteran piano tech and his loyal apprentice. As Niki goes further down the criminal rabbit hole, hoping to help his mentor — and meets a spirited music composition student — the triumphant “Tuner” constantly shape-shifts in mood and tone — captivating as an odd-couple friendship, a tense thriller, and a charming romance in equal measure.

“Union County”

Assigned to a county-mandated drug court program, Cody Parsons embarks on the tenuous journey toward recovery amid the opioid epidemic in rural Ohio.

Director Adam Meeks stays close to home in his debut feature, setting this recovery story in his hometown. His roots plunge this film to a subterranean depth, operating with an authenticity that gives great dignity to this portrait of a community engaged in profound struggle. Lending gravitas to the cyclical patterns of recovery brings the audience into the quietude and frankness of the battleground with addiction, illuminating the triumphs and failures that unfold daily in the fight to stay alive and the even more audacious struggle to live fully. This groundedness is supported by incredibly deft performances by Will Poulter (“Glassland,” 2015 Sundance Film Festival; “We’re the Millers”) and Noah Centineo. The leads embedded themselves in the community they portray for months and are joined on screen by local nonactors — a uniquely honest approach that lays bare consummately intimate truths.

“The Weight”

Padraic McKinley’s tense, atmospheric Depression-era crime drama follows a group of desperate convicts on a perilous journey through a physically and morally treacherous backcountry. Set against the stark beauty of the Oregon landscape, “The Weight” draws on the introspective action cinema of the 1970s, combining gritty survivalist set pieces with uncommonly intelligent dialogue and finely drawn characters. Although rich with period detail, “The Weight” is charged with elemental energy, fueled by brothers Latham and Shelby Gaines’ harrowing score and Matteo Cocco’s vivid cinematography. Ethan Hawke (“Before Sunrise,” “Dead Poets Society,” “Training Day”) gives a muscular performance as the film’s reluctant but resourceful hero, while Russell Crowe (“Gladiator,” “A Beautiful Mind”) is quietly menacing as his foil. Julia Jones (“Wind River,” 2017 Sundance Film Festival) brings dignity and defiance to her role as Anna, the sole woman in the group.

“Wicker”

A fisherwoman asks a basketmaker to weave her a husband.

In their audacious and delightful follow-up to 2020’s “Save Yourselves!,” Sundance Film Festival alums Eleanor Wilson and Alex Huston Fischer adapt and expand Ursula Wills’ beguiling short story about envy, commitment, and the trappings of societal norms. Wilson and Fischer bring this medieval oddball village to life with an all-star cast and generous helpings of wry wit. Olivia Colman’s (“The Favourite,” “Broadchurch,” “The Crown”) sardonic fisherwoman flies in the face of expectations and assuredly unravels tradition as she fights for the relationship she wants and the treatment she deserves from Alexander Skarsgård’s (“True Blood”) enigmatic and composed wicker man. Part fable, part historical comedy, and fully eccentric, “Wicker” invites us to reconsider and even set alight the stories we’ve told ourselves about marriage, creating space for true romance to unfold. Peter Dinklage also double-dips this Sundance Festival and Elizabeth Debicki (“The Crown”) joins the cast.

“zi”

In Hong Kong, a young woman haunted by visions of her future self meets a stranger who changes the course of her night — and possibly her life.

Kogonada plays with — and returns to — form in this sensitive cinematic poem. Held within a stylish jaunt through the streets of Hong Kong, zi is a film with soul and a wavelike confidence that commits to recursivity as a mode and central theme. Kogonada regulars Michelle Mao (“Bridgerton”), Haley Lu Richardson (“The White Lotus,” “Gail Daughtry and the Celebrity Sex Pass”), and Jin Ha (“Pachinko”) carefully portray transitory misfits, grappling with a clever fusion of existential anxiety, romantic misgiving, and personal memory.

Film descriptions were provided by the Sundance Institute.