Sundance Film Festival 2025: ATROPIA, OMAHA & ZODIAC KILLER PROJECT

From sharp satire to raw emotion and meta-commentary, these three films take wildly different approaches to storytelling. Atropia plays with absurdity in a setting that blurs fiction and reality, Omaha delivers a heartbreaking yet deeply human journey, and The Zodiac Killer Project flips true crime conventions on their head. Each film brings something unique in their own way.

Atropia (Hailey Gates)

This satirical comedy from writer/director Hailey Gates follows a military role-play compound. The title, Atropia, refers to a fabricated Iraqi village constructed in the California desert by the U.S. military, just a few hours from Hollywood. It is a concept with potential, though it doesn’t fully go the distance.

Whenever I see Alia Shawkat in something, I’m immediately intrigued. She’s one of those performers who always nails her beats and is a comedic delight.

In Atropia, she plays Fayruz, an actress deeply committed to her craft but struggling for recognition. She begins a romance with another actor, played by Callum Turner, who doesn’t quite connect with the material. While the film’s absurdity is amusing, it never fully capitalizes on its premise.

For the most part, I was intrigued by Atropia, especially knowing Gates originally considered making this a documentary. The project’s originality is undeniable, and while the film is often comical, it feels somewhat disjointed. There’s a fun celebrity cameo, but the momentum fizzles before the end.

Shawkat does her best to keep us engaged, but the script doesn’t give her the depth and bite she deserves. The film brings too many plots under its belt, juggling to keep it coherent and powerful. I liked Atropia, but truly wished I loved it. Gates has a lot of talented future projects ahead, and I can’t wait to see how she crafts them. 

Omaha (Cole Webley)

John Magaro is terrific. He’ll break your heart and even when you may see it coming, you’ll stand beside him anyway. His charisma, along with his work with the child actors, is incredibly moving and authentic. Cole Webley’s feature directorial debut astounds even when it threatens to crush. 

Omaha begins with Dad (Magaro) preparing his kids (Molly Wright and Wyatt Solis) for a trip. We don’t know the exact reason why until the end, when it’s confirmed via title cards. Despite some fun stop-offs and warm family moments—like a short-change mishap and pushing the car to get it started—it’s clear this family is going through a difficult time.

Omaha isn’t casual viewing. It’s heavy, and even though the story is fiction, the reality of its circumstances hits hard. Molly Wright and Wyatt Solis give fantastic performances, while Magaro (who has always been great) delivers something raw and Oscar-worthy as he wrestles with inner turmoil.

Sometimes, performances and intent are enough. In Omaha, the uncertainty of its finality mirrors real-life struggles, making it all the more poignant. The writing is genuine and rich, brought to life by deeply effective performances.

Ample parts heartbreaking and heartwarming, Omaha can be devastating, but with its empathy, it challenges and moves us in a profound way.

The Zodiac Killer Project (Charlie Shackleton)

Your first thought might be, another Zodiac documentary? But this isn’t exactly that. What starts as a true crime exploration pivots into something more meta; a reflection on our cultural obsession with projects like this.

Charlie Shackleton’s documentary is experimental, innovative (as its Sundance award suggests), and undeniably unique. He deconstructs the tropes and sensationalism that dominate the true crime genre, exposing our own complicity in the cycle.

Shackleton’s narration is sharp and concise, balancing clever critique with a comedic edge that keeps the film’s fast pace feeling light. We are provided with details regarding his original documentary, but also a deep look at this subgenre itself.

Its unexpected direction might disappoint some, but as both a critique of our own viewing habits and an exercise in turning a failed project into art therapy, it’s undeniably clever. While at times it leans into self-indulgence, it remains thoughtful and self-aware.

We, as an audience, are predictable in how we consume these stories, something Shackleton highlights with precision. While the details of each case may vary, the way these documentaries are structured is often the same.

By subverting expectations, The Zodiac Killer Project forces us to reconsider our role as viewers in the true crime phenomenon.

A deconstruction of true crime, Zodiac Killer Project is willfully entertaining and surprising, unlike many of the fellow films and series it focuses on.