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Yorgos Lanthimos’ relentless trademark absurdism is at its best and most pointed in The Lobster, the Colin Farrell-led drama that sees its protagonist defect from a matchmaking hotel where he has 45 days to find a partner or be transformed into an animal of his choice. The Lobster operates on any number of frequencies, from its acute sense of pacing to its dreary, nearly monochromatic visual aesthetic, Lanthimos’ writing and direction pull the viewer in varying directions while chopping at the cultural underpinnings of modern love – or worse, what it could become. The film finally makes its commercial theatrical run next Friday after premiering at last year’s Cannes Film Festival.

Nestled among awards season bedlam is our own little Festival set for later this month. But before we introduce audiences to a fresh roster of filmmakers and films, make the rounds on these Sundance indies coming to Netflix, DVD, and other digital platforms this January, as well as a slate of Sundance Institute Theatre Program productions coming to the stage.

Coming to NetflixFriday, January 1
How to Change the World

Friday, January 15
The Overnight

Monday, January 25
Turbo Kid

iTunes via #ArtistServicesTuesday, January 12Blind Bob and the Trees Chisholm ’72Good Morning Karachi Stray DogIvy DVD, Blu-Ray, and DigitalTuesday, January 5
Infinitely Polar Bear
Experimenter
Sleeping With Other People

Tuesday, January 12
The Stanford Prison Experiment
The Look of Silence
Tuesday, January 19
The Diary of a Teenage GirlOn the StageGrey Gardens, Southwark Playhouse, Jan.

For all the autobiographical narratives, in-depth profiles, and passion projects at the 2015 Sundance Film Festival, James White may have been the most intimate film at Park City. From first scene to last, wherever James White (Christopher Abbott) goes, the camera follows, and closely. Whether he’s wandering through a crowded New York club, getting into a bar fight, bombing at a job interview, navigating his deceased father’s Shiva, or tending to his ailing mother (Cynthia Nixon), we’re right there to read his face, register his desperation or confusion, and ride his emotional rollercoaster.

If fear is in fact the most powerful motivator, then (T)Error may have us all hand-wringing and galvanized come the credits. In their feature debut, co-directors Lyric R. Cabral and David Felix Sutcliffe cleverly infiltrate a real life counterterrorism sting carried out by a veteran FBI informant known as Saeed Torres, or “Shariff.

It’s all but impossible to describe all that happens in The Forbidden Room, since it’s all but impossible to track all that’s happening in the moment.
So let’s just say it has something to do with a doomed submarine, a woodsman determined to save his beloved from humanoid wolves, a manacled gardener, a soused parachutist attorney, a poisonous skeleton unitard, posthumous drinking buddies, an inner child murderer, and baths, for starters. It’s a film in which digressions aren’t really digressions, but rather thresholds to new flights of fancy, to more and more fervent valentines to lost and imagined cinematic worlds, to beautiful imagery and bawdy jokes.

A pair of Sundance breakout films coming to theaters in October examine the disparate but mesmerizing charades carried out by their subjects. In the documentary (T)ERROR, cameras infiltrate a real life counterterrorism sting carried out by a veteran FBI informant, and in I Smile Back, Sarah Silverman secretly inhabits a world of compulsion and duplicity that belies her idyllic family life. Check out all that October has to offer below.

The story of Finders Keepers, a rollicking and sneakily emotional film that screened as part of U.S. Documentary Competition at this year’s Sundance Film Festival, is almost too good to be true.

As often as cinema can operate as a vehicle for empathy, it can just as easily provoke the contrary. Co-directors Michael Beach Nichols and Christopher K. Walker never intended for their film to pander to audience’s entrenched beliefs, and that was on display front-and-center at a hot-blooded screening of the film at the 2015 Sundance Film Festival, where its most nefarious subject joined via Skype during a rowdy Q&A session.

The last time Craig Zobel premiered a film at the Sundance Film Festival, he wasn’t sure he’d make it out of the theater. After debuting his film Compliance in 2012, the film’s post-screening Q&A session was reduced to a shouting match as a combative audience member lobbed criticisms at the director’s intentions with the film. Earlier this year during Zobel’s second time around in Park City, the drama stayed on the screen.

Is a film really a film if it’s actually more of a kinetic collage that weaves through canyons and countrysides, picking up Beck or Cat Power or the Kansas City Marching Cobras along the way? We like to think so, and Doug Aitken, the ever-inventive multimedia artist, often makes it so. Aitken’s newest project, Station to Station, can seem inscrutable at first. The Aitken-prescribed tagline, “62 one-minute films.

While introducing The Diary of a Teenage Girl at the Sundance Film Festival, senior programmer David Courier prepared the audience to meet two striking new talents. He noted that he was honored to have Marielle Heller, an alum of the Sundance Institute Screenwriters and Directors Labs, return with her debut feature, and predicted actress Bel Powley’s future is “so bright that we’re going to be seeing her work here for years to come.”
This wasn’t typical pre-screening hyperbole.

Judging from conversations and Twitter activity in the moments before the world premiere screening of The End of the Tour at the 2015 Sundance Film Festival, there was as much trepidation as there was excitement about the prospect of the life of the late, great author David Foster Wallace being dramatized on film. Yet even though the film, and actor Jason Segel in particular, made great pains to evoke Wallace’s singular way of talking, thinking, and being, it turned out that The End of the Tour is far from a biopic—it documents just a few days at the end of the author’s press tour for Infinite Jest—and rather uses writer David Lipsky’s best-selling account of his time reporting an ultimately unpublished profile of Wallace for Rolling Stone as a jumping off point for a rumination on fame, American manhood, and loneliness, among many other things. It’s also, despite a bigger budget and stars like Segel, Jesse Eisenberg, and Joan Cusack, very much a deeply felt James Ponsoldt (Smashed, The Spectacular Now) film.