The Raid 2
This is the main reason I'm going down to Sundance (my first time!), and the first film is a main reason I began writing for this site. I was there at TIFF's Midnight Madness screening, and simply cannot wait for this newest iteration. -Jason
Cold in July
Director Jim Mickle is, in my opinion, one of the very best things going in the American indie scene today. Possibly the very best. Mickle has grown and developed in fascinating ways with every project and I'm dying to see what he does with Joe R Lansdale's dark crime novel. -Todd
War Story
Mark Jackson's debut Without was quite the stunner at Slamdance in 2011, and goes down as my favorite film in the last five years to not get distribution. His sophomore effort starring the always electric Catherine Keener as a war photographer suffering from PTSD is every bit as good, if not more so. -Ben
What We Do in the Shadows
Frankly put, Taika Waititi and Jemaine Clement are one of the funniest duos working today. From Waititi's directorial debut Eagle Vs. Shark to their work together on Flight of the Conchords, these fellows' senses of humor put me in stitches. But it was the heart that Waititi showed in his last film Boy that really proved his directorial chops. This one looks on the wackier side, and I'm totally okay with that too. -Ryland
Dear White People
I remember when this film was just a little baby in its IndieGogo fundraising stage. I was intrigued then, and two years later, I'm still intrigued. Plus, race relations deserve a contemporary setting for its conversation. I believe we'll be saying, "Bravo Mr. Simien, bravo," after this premiere on the 18th. -Valentina
The Trip to Italy
Coogan, Brydon and Winterbottom make gold together. They've done it twice already with the original The Trip and Tristram Shandy and I expect more of the same. Haven't seen The Trip yet? Go see it now. Not only is it hilarious but it features a remarkably nuanced and complex performance from Coogan as an only moderately fictionalized version of himself. -Todd
I kind of loved the first film (a love letter to food and travel), and could definitely use some respite mid-fest to languish in the rolling hills of the Italian countryside while Brydon and Coogan noodge each other. -Jason
Memphis
A tone poem to that legendary city, its music and culture, Tim Sutton's follow up to the suburban youth tale Pavillion looks just plain gorgeous thanks to the ephemeral realist lens of cinematographer Chris Dapkins. -Ben
Fishing Without Nets
Cutter Hodierne's short version of this film (which took home the top Sundance shorts prize two years back) was an incredibly visceral experience. I have no doubt this talented young director and his team have been able to pull off a truly impressive feature. -Ryland
Hellion
Aaron Paul outside of Jesse Pinkman. That is all. Oh yeah, and newcomer, no-experience, teen actors from small towns in Texas (Josh Wiggins).-Valentina
Life Itself
If The Raid was the reason that I'm a featured critic for ScreenAnarchy, then Roger Ebert is pretty much the reason I'm a critic, full-stop. This doc by Steve James on the life of this great man will be an emotional one, and I'm giddy to be there for it. -Jason
Viktoria
I honestly have no idea what to expect from this epic fable on Bulgaria's transitional years from Communism to Capitalism, prismed through the lives of a young mother and her extraordinary daughter. But I am always keen on Eastern European cinema and director/producer Maya Vitkova seems to be leading a new independent spirit from within, which I'm totally all for. -Ben
Calvary
John Michael McDonagh's The Guard is a great favourite of mine and I'm beyond excited to see what he's cooked up with his sophomore effort. McDonagh is a fabulous writer who draws excellent work out of his actors, so the idea of him working with Brendan Gleeson (again) along with Irish comedic giants Chris O'Dowd and Dylan Moran (though this is apparently not a comedy) is a great big plus. -Todd
Blind
Without a doubt, one of the most talented directors working (although infrequently) today is Norwegian Joachim Trier. His films Reprise and Oslo, August 31 moved me like few films can. Well, now Eskil Vogt, the screenwriter of those two films, has struck out on his own with this debut feature. I can't wait to see if he has promise of the same skills. -Ryland
