The 2026 Sundance Film Festival in Park City, Utah, wrapped up its final edition in the state this weekend, marking the end of an era that spanned over four decades since its establishment by Robert Redford. Though Sundance will continue beyond 2026, having announced plans to move to Boulder, Colorado, the event's final moments in its long-standing home were imbued with a sense of wistfulness from attendees ranging from newcomers to those with festival histories dating back decades.
A notable highlight was a commemorative screening on Wednesday of "Little Miss Sunshine," a film considered one of the festival’s enduring successes. The event reunited directors Jonathan Dayton and Valerie Faris alongside actors Toni Collette, Greg Kinnear, Paul Dano, and Abigail Breslin. Taking place at the festival's largest and most notable venue, the Eccles Theater, the screening drew both longtime fans who had witnessed the original 2006 premiere and first-time viewers, all responding enthusiastically.
“Who would have imagined that a single film could deliver two electric nights at a Sundance Film Festival?” reflected festival director Eugene Hernandez, expressing the energy surrounding the anniversary event.
While reflection was a core theme, the festival's essence of discovery remained unchanged, demonstrated by the fact that about 40% of the features were from first-time filmmakers. Sundance programming director Kim Yutani emphasized the intent to honor Park City’s contribution, stating, "I feel like we achieved that based on what we’ve seen this week. The enthusiasm for the artists that we have now shared with the world is significant. It’s profound."
Real-world events and political currents permeated the festival atmosphere as well. Notably, an incident occurred on the second night when a Florida Congressman was physically assaulted at a party by an individual threatening deportation. Symbolic of the political tension, ICE OUT pins were frequently spotted on various attendees, including prominent figures like Natalie Portman on the red carpet. Films such as "The AI Doc: Or How I Became an Apocaloptimist," directed by Daniel Roher and Charlie Tyrell and slated for theatrical release on March 27, stimulated discussions about apocalyptic futures and societal concerns.
Despite the serious undertones, celebratory moments abounded. The screening of Charli XCX's documentary "The Moment" sparked an all-night DJ party with attendees dancing well past early morning. The Billie Jean King documentary "Give Me the Ball!" garnered spontaneous applause, with King herself engaging audiences by hitting tennis balls into the balcony afterward. Musical performances by Rufus Wainwright and Norah Jones followed a screening of "Broken English," enhancing the festival’s vibrancy. Additionally, "Cookie Queens," a film exploring the Girl Scout cookie season, attracted audiences and featured a surprise appearance by executive producers Prince Harry and Meghan.
Among notable individual highlights, Olivia Wilde emerged strongly as both star and director. Despite Charli XCX boasting three films at Sundance, Wilde captured attention through her role as Erika Tracy in Gregg Araki’s provocative comedy-thriller "I Want Your Sex," which explores themes of sexuality and personal transformation. Wilde’s more prominent presence was "The Invite," a tightly written chamber dramedy she directed, featuring herself and Seth Rogen as a married San Francisco couple whose dinner party with neighbors (Penélope Cruz and Edward Norton) leads to unexpected dynamics. This film quickly gained status as a festival favorite, culminating in a heated 72-hour bidding war. Distributor A24 reportedly secured it in the festival’s largest deal to date, with acquisition costs estimated around $12 million. While "The Invite" has yet to receive a release date, "I Want Your Sex" remains without a distribution deal.
The festival also spotlighted intense dramatic fare such as "Josephine," a raw narrative from writer-director Beth De Araújo exploring the psychological aftermath for an 8-year-old girl traumatized by witnessing an assault in San Francisco’s Golden Gate Park. Starring Mason Reeves in the titular role alongside Channing Tatum and Gemma Chan as her parents struggling to support her, "Josephine" resonated with audiences and is currently without a distributor.
In genre fare, indie label Neon, known for "Parasite" and "Anora," swiftly acquired Adrian Chiarella’s "Leviticus" for a reported seven-figure sum. The Australian coming-of-age thriller depicts two teenage boys enduring conversion therapy and has drawn critical comparisons to "Heated Rivalry" and "It Follows." A release timeline remains undisclosed.
Another documentary generating attention was "Once Upon a Time in Harlem," featuring footage initially recorded in 1972 by William Greaves. The film compiles reflections and discussions from Harlem Renaissance figures gathered at Duke Ellington’s home, with completion and co-direction credited to Greaves's son, David. This substantial historical record remains available to seek distribution.
Additional noteworthy films engaging audiences and critics included "The Only Living Pickpocket in New York," a nostalgic crime thriller with John Turturro, written and directed by Noah Segan; "Wicker," a fantasy exploring a fisherwoman commissioning a basket-woven husband, starring Olivia Colman and Alexander Skarsgård; David Wain’s darkly comic "Gail Daughtry and the Celebrity Sex Pass" featuring Zoey Deutch, Jon Hamm, and John Slattery; and "Ha-Chan, Shake Your Booty," showcasing a woman’s competition in Tokyo’s ballroom scene with Rinko Kikuchi. While these titles have yet to secure distribution, talks are anticipated to continue beyond the festival’s conclusion.
Yutani highlighted optimism for the futures of these films, noting, "There are many more deals happening. The fact that these films are going to have these robust lives after their Sundance premieres is exactly what we want for these films. For them to reach wider audiences is definitely the goal." As Sundance transitions to a new home, its commitment to spotlighting innovative voices and diverse storytelling remains firmly intact.