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15 Best Movies and Performances of 2017 Sundance Film Festival

From fringe-movement docs to a baker’s dozen of Cate Blanchetts – these were the films and unforgettable turns that made our festival

15 Best Movies and Performances of Sundance 2017

From fringe-movement docs to a baker's dozen of Cate Blanchetts – our picks for the 15 best movies & performances at the 2017 Sundance Film Festival.

Sundance (3)

We went in to the 2017 Sundance Film Festival with 25 titles we were dying to catch – and some 40 movies, numerous long shuttle rides, dozens of snow flurries and several bottles of eye-drops later, we returned from Park City, Utah, wowed by movies that ran the gamut from high-fiber documentaries to high-caliber dramas to a mood piece featuring Casey Affleck under a sheet that made us feel high. Per usual, the 2017 edition coughed up a handful of expected treasures, some real out-of-nowhere stunners and occasional disappointments … and even some of those latter ones came blessed with some acting turns that stayed with us long after we trudged into the slush outside the theater. Here are our choices for the best movies and performances from this year's Sundance.  

‘My Happy Family’

A left-field gem, this story of a fiftysomething Georgian woman (Ia Shugliashvili, incredible) who decides to leave her husband and live on her own was the stand-out of an unusually strong World Dramatic lineup at Sundance this year. Filmmaking duo Nana Ekvtimishvili and Simon Gross favor long takes full of messy, chaotic life and slowly detonating showdowns, as parents, spouses and kids try to convince our heroine to return to the nest; if you wanted an uncut dose of the sound and fury that is family, this was your fix. And then there's Shugliashvili, who hoists the entire film on her stooped shoulders and makes you feel the exhalation that accompanies the character's long-pined-for liberation. A must-see.

Sam Elliott, ‘The Hero’

We're not the kind of folks to use Sundance as a crystal ball for hyperventilating awards prognostication. (OMG, Oscars 2018 – it's only 12 months away, people!!!) But let's just say we'd be very surprised if Sam Elliott's name isn't being bandied about this time next year in regards to his performance in Brett Haley's character study about an aging movie star. The film has more than its share of flaws; Elliott's take on a pot-smoking, regret-filled Western icon dealing with second chances and autumn-years ennui, however, is virtually perfect. The recent run he's had with Haley's debut I'll See You in My Dreams, the Lily Tomlin vehicle Grandma and a villainous arc on TV's Justified all seem to be leading up to this part; the moment we stop treating him as just the craggy sum of his baritone voice and peerless mustache, and begin referring to him as a canon-worthy dramatic actor, has officially arrived.

‘Machines’

First-timer Rahul Jain takes his cameras in a textile factory right outside of Calcutta and glides them through hallways, past weary workers and into the bowels of global capitalism in search of answers. What he emerges with is a poetic, humanistic look at a sweatshop that leaves its didacticism at the front door; even the interviews with laborers who've traveled hundreds of miles in search of work and one caricature of a boss don't feel like easy-target practice. The ending, in which his subjects begin to ask the man behind the camera how he will actually help them make their lives better – and are met with silence – feels like a damning indictment of first-world complicity, third-world exploitation and the whole notion of social-justice docmaking all at once.

Woody Harrelson, ‘Wilson’

Yes, this movie of Daniel Clowes' 2010 graphic novel (adapted by the indie comics' legend himself) feels a bit like Clowes lite. But that doesn't subtract from Woody Harrelson's go-for-broke take on the titular misanthrope, a chatty cynic who has the ability to ruin any social situation in seconds flat. It's hard to think of anyone who could have pulled off the part's balancing act of oddball sunniness and self-loathing, or make you believe Wilson could charm an entire cellblock without playing down the character's irritiable edges. Kudos also go to Laura Dern, who proves that nobody can end a sentence with the word "man" and imbue it with so much bone-deep bitterness.

‘Oklahoma City’

The bombing of the Oklahoma City federal building in 1995 was not just the biggest act of domestic terrorism in the U.S. to date – it was also the culmination of fringe anti-government sentiments that had moved from actively threatening the Feds to acting out. Like O.J.: Made in America, Barak Goodman's look at the tragedy goes to great lengths to contextualize what happened and why; by the time Timothy McVeigh finally comes on the scene right before the halfway point, you completely understand how and why he felt compelled to such grand-scale violence. And given the doc's emphasis on the growing American militia/alt-right movement, this could not be timelier.

Zoe Lister-Jones, ‘Band Aid’

As a writer-director, Zoe Lister-Jones does a good job of setting up this comedy-drama's premise: Rather than try couples' therapy to save their failing marriage, a couple decides to start a band and sing their frustrations out to each other. It's as a performer, however, that the triple-threat really sells the concept, adding layers to what might have been a one-note-joke protagonist. Everyone focused on the movie's clever college-rock ditties, but it's the way she sings them with such cathartic glee – and communicates the way her half of the hipster Angeleno duo navigates regret, frustration, lust and confusion with more nuance than you'd think necessary – that lifts this out of the usual indie über-quirk ghetto. She's a keeper.

’78/52′

Never mind the celebrity talking heads (a moratorium on in-film Eli Roth interviews, please); this fascinating close-read of one of the most famous movie sequences of all time – Psycho's shower scene – not only explains how Hitchcock set up the shots but reminds you why it's still such a masterclass in miniature re: horror moviemaking. Academics, art historians and Janet Leigh's body double all weigh in about the particulars of background painting choices and the art of covering up on-set nudity, while famous fans admire the technique. But the real takeaway is in seeing Hitch push the envelope both creatively and sociologically with his master plan – then incinerate the envelope altogether.

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