Your Guide to the Projects by Asian Filmmakers at the 2026 Sundance Film Festival
Moon Choi and Son Sukku appear in “Bedford Park” by Stephanie Ahn, an official selection of the 2026 Sundance Film Festival (Courtesy of Sundance Institute
Moon Choi and Son Sukku appear in “Bedford Park” by Stephanie Ahn, an official selection of the 2026 Sundance Film Festival (Courtesy of Sundance Institute
Jay Duplass is headed back to Park City in 2026 with his first solo-directed project at the Sundance Film Festival since “The Puffy Chair” — his feature debut — in 2005.
In “Run Amok,” writer-director NB Mager focuses on the aftermath of a school tragedy and asks: What happens when young people are finally allowed to speak for themselves?
Director David Alvarado shines a spotlight on the filmmaker, activist, and vital figure in the history of Mexican American culture, art, and political consciousness.
An expansion of their award-winning eponymous short film from 2021, “Nuisance Bear” takes Osio Vanden and Weisman back to Churchill, Manitoba, where a polar bear migration has crossed paths with modern human life.
In addition to resonating with anyone who has had to face the complications of caregiving, “Take Me Home” provides a rare opportunity for audiences to see a big-screen performance by a lead actor with a cognitive disability.
When Robert Redford founded the Sundance Institute, he ensured that support for Indigenous voices would be a pillar of the organization. From iconic Indigenous artists
As the documentary “Barbara Forever” opens, iconic filmmaker Barbara Hammer, the subject of the film, can be heard saying, “I’m creating a lesbian history in a world where we’re invisible.”
“We built this from our lives, two Midwest kids figuring it out with a crew of friends who were doing the same,” say Julien and Justen Turner.
Set in a town where trance dance hypnosis is a common pastime, “Levitating (Para Perasuk),” invites audiences into a world where pleasure, belief, and survival intertwine.
“Once Upon a Time in Harlem” transports us back to 1972, when William Greaves orchestrated an afternoon gathering of the architects of the Harlem Renaissance at Duke Ellington’s apartment.
Using archival footage and reenactments interspersed with film and photos shot in Vietnam by the young men comprising the “soul patrol,” J.M. Harper crafts a backdrop of a country that was readily sending Black men to risk their lives in the jungle even as their civil rights were being disputed back home.