We saw some of the most anticipated films of the year at Sundance. Here’s what we thought

Festival season has officially kicked off this year, with Sundance leading the charge.

In addition to offering a bevy of exciting celebrity sightings (Pedro Pascal! Kristen Stewart! Jesse Eisenberg!), this year’s program is full of opportunities for discovery, as the film festival’s director of programming promised it would be during Thursday’s opening press conference.

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Here are the films that we watched at the Sundance 2024 Film Festival — and what we thought of them.

‘Freaky Tales’

Directed by: Ryan Fleck and Anna Boden.

Starring: Pedro Pascal, Normani, Jay Ellis, Dominique Thorne.

“Freaky Tales,” a multitale horror-kung-fu homage to the ’80s, tackles four wildly different (and tonally confusing) storylines that take place in Oakland in 1987.

The first follows a group of punks fighting off a gang of Nazis; the second follows Danger Zone, a real-life female rap duo (Normani and Thorne), as they struggle to attain fame; the third follows criminal Clint (Pascal) through a shockingly dark and intense tragedy; the fourth follows Eric “Sleepy” Floyd during and after a famous 1987 NBA playoff series between the Lakers and the Warriors.

By the end of the film, each storyline comes together in a gory, semi-satisfactory climax.

Here’s the thing: If you’re from the Bay Area (I am not), are a Warriors fan (I don’t watch sports) and/or were born in the 1980s (I was born in ’93), you will likely appreciate one of the four storylines in “Freaky Tales.” If you’re not, you — like me — might find the tonal dissonance of the four storylines jarring and the many ’80s references hollow. — Natalie Issa

This film contains: Violence, gore, language, mild sexuality.

‘Love Me’

Directed by: Sam and Amy Zuchero.

Starring: Kristen Stewart, Steven Yeun.

It’s 2025. Humanity is extinct. And off the California coast, a lone buoy (Stewart) is aimlessly bobbing in the ocean, until a satellite (Yeun) comes into her range.

Thus begins a sweeping, touching and poignant love story between a buoy (named “Me”) and a satellite (named “I Am”). With the last traces of humanity documented online, Me and I Am first take their cues from the internet on how to navigate love and humanity, before embarking on their own journeys of self-identity.

While not a perfect movie — sorting out the technicalities and plot of the second half of the film proved a little messy — it ultimately culminated in a sweet love story that explores what it means to be human. — Natalie Issa

This film contains: Mild sexuality and brief nudity.

‘A Real Pain’

Directed by: Jesse Eisenberg.

Starring: Jesse Eisenberg, Kieran Culkin, Jennifer Grey, Will Sharpe.

At its surface, “A Real Pain” is an opposites-attract buddy dramedy: two cousins, the neurotic David (Eisenberg) and the charismatic Benji (Culkin) take a guided tour across Poland to honor their own Polish grandmother, who recently died.

But at its core, it’s a deeply vulnerable film about grief and pain. Benji and David’s grandmother was a holocaust survivor; Benji battles his own demons; David, for his part, frets over his cousin. Both are grieving the loss of their grandmother.

Benji wears his heart on his sleeve, resulting in an alluring charisma, but also sudden, cruel outbursts and deep displays of grief. Meanwhile, David expresses his love and admiration his cousin while simultaneously resenting him, for reasons that are made clear halfway through the film.

The film, both hilarious and heartbreaking, is a triumph for Eisenberg and Culkin. Eisenberg received a standing ovation from the audience at the film’s premiere, while Culkin shines in a charismatic and sorrowful performance. — Natalie Issa

This film contains: Language, discussions of suicide.

‘Handling the Undead’

Directed by: Thea Hvistendahl.

Starring: Renate Reinsve, Bjørn Sundquist, Anders Danielsen Lie, Bente Børsum, Bahar Pars.

No one speaks until about 15-20 minutes into “Handling the Undead,” a film adapted from “Let the Right One In” author John Ajvide Lindqvist’s 2005 book of the same name. Instead, the film opens up by showing vivid portraits of three different families who don’t know each other but are connected by a very specific pain: the recent loss of a loved one.

In her debut film, director Thea Hvistendahl emphasizes emotion over information. We never find out how a grandson or a mom or a wife died, because in the grand scheme of things, it doesn’t really matter. They’re gone. Nothing can change that.

Until an electrical storm on a hot summer day in Oslo brings them back.

This is not your typical zombie movie. In fact, it’s not even really a horror film. It’s a slow-burn exploration of a universal concept: If you had the chance to see, and be with, your deceased loved ones again, how would you react?

It makes for a simultaneously empathetic and unsettling viewing experience — because even if it’s not your typical zombie movie, we’ve seen enough zombie movies to know it probably won’t end well. — Lottie Johnson

This film contains: Brief nudity and some gore.

‘The Outrun’

Directed by: Nora Fingscheidt.

Starring: Saoirse Ronan, Paapa Essiedu, Stephen Dillane, Saskia Reeves.

At more than 100 days sober, Rona (Ronan) returns to the wind-beaten Orkney Islands — where she grew up — in hopes of taming her ongoing struggle against alcoholism.

Through a series of increasingly nasty flashbacks and present-day sequences, Rona’s story is pieced together. On the brink of 30, she has already surrendered herself to the destructive effects of alcohol addiction.

Haunted by memories of her childhood and a misplaced responsibility to care for her mentally ill father (Dillane), temptation to drink nearly seizes Rona. In a last-ditch effort to reclaim control over addiction, Rona takes off for Papa Westray — a small, isolated island.

On Papa Westray, Rona’s internal battles are paralleled by natural phenomena. Once bored by sobriety, Rona discovers the fierce winds and waves on Papa Westray fill a void once filled with drinking.

“The Outrun” is a refreshing take on addiction recovery. With each heart-wrenching flashback, audiences recognize the complexities of addiction. It will (probably) make you cry, but “The Outrun” is ultimately a story of hope and a reminder that redemption is within everyone. — Margaret Darby

This film contains: Language and mild sexuality.

‘Dìdi’

Directed by: Sean Wang.

Starring: Izaac Wang, Joan Chen, Shirley Chen, Chang Li Hua.

The keen writing and performances in “Dìdi” will leave you reminiscing on life as a 13-year-old for days. Pulling heavily from his own youth, writer-director Sean Wang shares a brutally honest coming-of-age story highlighting the woes of adolescence.

In 2008, during the summer before high school, Chris Wang wears many different hats in an attempt to discover where he fits. His friends lack loyalty, the girl he likes makes him uncomfortably nervous and the pressure from his mom is overwhelming.

Following a slew of relatable teenage mess-ups, Chris embarks on a brief, somewhat effective journey seeking redemption. His story wraps up swiftly, leaving you wanting more.

“Dìdi” was inspired by Wang’s favorite coming-of-age films. For the most part, he hits the mark. The film has the emotional bite of “Stand By Me” but it lacks the adventure of “The Sandlot” or “The Goonies.”

It will make you laugh, it’s likely you will cry, nostalgia will creep in and you might go home overthinking that stupid thing you did in eighth grade. — Margaret Darby

This film contains: Language, crude humor and underage drug use.

‘Hit Man’

Directed by: Richard Linklater

Starring: Glen Powell, Adria Arjona, Austin Amelio, Retta, Gralen Bryant Banks.

Director Richard Linklater found inspiration for “Hit Man” in a 2001 article published in Texas Monthly. The film is marketed as being “somewhat based on a true story,” but almost nothing about “Hit Man” feels realistic.

For starters, Powell (who oozes charisma) plays Gary Johnson, a Honda Civic-driving, bespectacled, jorts-wearing dork-turned-fake-hitman. But maybe that is exactly what makes the film so much fun.

Gary is an awkward philosophy professor moonlighting as a bogus hitman, something he is shockingly good at. Taking on phony identities — such as Patrick Bateman and Severus Snape lookalikes — Gary entraps criminals hoping to hire for murder.

Powell kept the audience roaring with laughter as he transitions from one over-the-top persona to the next.

Romance and chaos ensue when Gary meets Madison (Arjona), an attractive woman hoping to off her abusive husband. The film takes a dark turn as Gary and Madison’s antics spiral out of control — prompting Gary to question who he really is.

“Hit Man” is a movie for the everyman. It’s got all the makings of an enjoyable movie. Comedy. Romance. Action. Glen Powell. After fits of laughter throughout, the audience praised “Hit Man” with a standing ovation. — Margaret Darby

This film contains: Language, some violence and brief nudity.