While these three Sundance movies are narratively different, their female focus leaves this trio, all by female directors, a delightful assembly of the talent in today’s industry.
The Virgin of The Quarry Lake (Laura Casabé)
Quarry Lake infuses its narrative with a near-feral intensity, driven by Dolores Oliverio’s mesmerizing performance. She embodies youth’s raw, untamed emotions, setting a fire at the heart of this eerie coming-of-age story.
Set against the backdrop of a sweltering Argentine summer around 2001, the film follows Natalia (Oliverio) and her closest friends, Josefina (Isabel Bracamonte) and Mariela (Candela Flores), as they navigate the blurred lines between friendship, desire, and obsession. All three seem drawn to Diego (Agustín Sosa)—but for Natalia, it’s something more. Her fascination with him simmers beneath the surface, restless and unresolved.
When the older, more self-assured Silvia (Fernanda Echevarría) arrives in town, effortlessly capturing Diego’s attention, Natalia’s world tilts. What begins as quiet jealousy quickly mutates into something darker that cannot be ignored.
Her grandmother (Luisa Merelas), the only family she has, carries whispers of old traditions, and remnants of rituals. One evening, beneath the thick heat of the summer air, she shares a spell—one that requires a name. A small act, a secret ritual among girls, opens the doorway that can’t be closed. It reveals things about herself and the power she has bubbling under the surface.
Based on the short stories of Mariana Enriquez, Laura Casabé’s film pulses with a sense of inescapable doom. It carries a spark of first love, humid and heavy, as desire and jealousy intertwine. Much like the American film The Craft, I could see this finding an audience in teens and young adults. But, unlike that movie, there’s a sense of foreboding that is perceptible by its end.
That slow, creeping dread seeps in early, tightening its grip with each passing moment, until the weight of the inevitable becomes unbearable. Like a curse woven into the fabric of the film itself, The Virgin of the Quarry Lake lingers long after the final frame.
Sorry, Baby (Eva Victor)
If you haven’t discovered Eva Victor yet, you’re missing out. A multi-talented writer, director, and actress, she’s a true gem—delivering performances infused with quiet strength and sharp comedic mastery.
In her latest work, Victor stars as Agnes, a college professor navigating the complexities of academia, personal growth, and the quiet undercurrents of grief. The intelligent script resonates deeply, particularly in its exploration of female relationships and the unspoken ways women support, challenge, and heal one another. The film is delivered in chapters, each holding its significance for Agnes.
Naomi Ackie, fresh off terrific performance in Blink Twice, shines as Agnes’s best friend, bringing warmth and nuance to their dynamic. Every scene is purposeful, every conversation lingers, and every emotional beat is earned.
The film also boasts an impressive supporting cast, including Lucas Hedges and John Carroll Lynch, who adds further depth to this already layered narrative. It’s a dramedy that handles varied emotional pulls, including the effects of sexual assault with stark honesty. Sorry, Baby is moving, but also hilarious. It builds a comfortable complexity that is creative yet relatable.
As a director, Victor showcases a pronounced vision—one that is observationally sharp, emotionally astute, and deeply attuned to the subtleties of human connection. Her storytelling is intelligent and quietly powerful, capturing both the humor and heartbreak of processing trauma with a sensitivity that feels both intimate and universal.
Sorry, Baby is beautifully organic. It’s a truly confident debut that delivers one of our most exciting new voices.
Oh, Hi (Sophie Brooks)
Oh, Hi is a clever and charmingly odd dark comedy, thriving on sharp performances and cheeky writing. While silly and a tad bit too adventurous, there’s a sincerity that shines through.
Molly Gordon and Logan Lerman lead as a couple embarking on their first romantic getaway. What begins as a passionate night—complete with playful restraints—takes an unexpected turn by morning when one of them realizes the other doesn’t quite share the same perspective on their relationship. It’s a fear we’ve probably all had, but its fruition leaves the two in a precarious spot.
Without giving too much away, Oh, Hi masterfully captures the neurotic and anxious nature of modern relationships and the sting of heartbreak. While the film takes these emotions to heightened, sometimes absurd extremes, the underlying tensions feel deeply relatable. It’s a story that leans into its quirks, balancing humor and discomfort in a way that feels both fresh and familiar.
At times delightful, at others frustrating, Oh, Hi has a lot to say about love, perception, and miscommunication—even if it doesn’t always know when to stop. It dabbles in relationship tropes but pushes on to keep you consistently surprised by where it goes. It’s also hilarious. The film utilizes the strength of its performers, including Iris’ friend Max (Geraldine Viswanathan) and her boyfriend Kenny (John Reynolds). This casting foursome is fantastic on screen together. Some of that sincerity, that insightful resilience that strengthens the film, begins to weaken by its close. Despite that, the film is still compelling and one of the more unique movies I caught this year.
Gordon and Lerman have fantastic chemistry, fully embracing the script’s wit and physical comedy, making this an effortlessly engaging watch. Director Sophie Brooks demonstrates a keen understanding of relationship dynamics, crafting a story that is both compelling and playfully chaotic.
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