Sundance 2026: ‘Extra Geography’ Puts a Quirky, Tender Spin on a Familiar Boarding-School Tale

PUBLISHED 2/24/2026 by

Extra Geography, the United Kingdom’s entry in the World Cinema Dramatic Competition at Sundance this year, is a funny, sweet and quirky coming-of-age story about two best friends in an all-girls English boarding school. Directed by Molly Manners and written by Miriam Battye, the film offers a wholly unique angle on a well-worn subgenre, reimagining the contours of youthful exuberance and teen ambition, as well as the conflicting feelings and confusing choices we make when we’re learning what it means to grow up.   

(This is one in a series of film reviews from the 2026 Sundance Film Festival, focused on films by women, trans or nonbinary directors that tell compelling stories about the lives of women and girls.)

Sundance 2026: Olive Nwosu’s Haunting Lagos-Set Drama ‘LADY’ Asks What Happens When You Can No Longer Tune Out the World

PUBLISHED 2/18/2026 by

LADY is a film about perspective—about choosing what we see and how we see it, as well as what we decide is important. It’s also a film that consciously balances discomfort with bravery, weaving a tale about a woman on the cusp of a sea change, uncertain whether or not she’s willing to be taken up by its current. 

Winner of the 2026 Sundance World Cinema Dramatic Special Jury Award for Acting Ensemble, LADY is, according to the jury, “a film full of depth and texture and with a rhythm all its own, with an electric ensemble cast that brings life and humor and insight to a story about day-to-day challenges and finding safety in unexpected friendships.”

(This is one in a series of film reviews from the 2026 Sundance Film Festival, focused on films by women, trans or nonbinary directors that tell compelling stories about the lives of women and girls.)

Lindsey Vonn Redefines The Limits of Possibility 

PUBLISHED 2/18/2026 by

Last Sunday, I woke before dawn to watch 41-year-old ski legend Lindsey Vonn race Olympic downhill at the Milano Cortina Games—the oldest woman ever to start the event and the first to do so with a knee replacement. Nearly seven years after retiring, she returned to the Olympic start gate with a torn ACL and decades of accumulated injuries, propelled by the same resolve that once made her the most decorated female alpine skier in history.

As I watched her charge down the course, cheered on by teammates, family and a global audience, I found myself asking the same question reverberating across sports media: Could she once again defy the limits imposed on her body, her age and her ambition?

When Vonn crashed seconds into the run, the reaction revealed just how persistent those limits still are. While elite skiers—men and women alike—routinely crash when pushing for hundredths of a second, her fall was framed by some as proof that a 41-year-old injured woman had overreached, rather than as the calculated risk that defines downhill racing. What moved me most wasn’t just the loss of a potential medal but the familiar scrutiny that followed: critiques of her age, her body and her decision to try at all. Her return alone had already stretched what we imagine is possible for women in sport. The fall, though painful to witness, underscored something more enduring—her insistence on defining her own limits in a world still unsettled when women refuse to accept theirs.

Sundance 2026: ‘Barbara Forever’ Chronicles the Life and Work of Experimental Lesbian Filmmaker Barbara Hammer

PUBLISHED 2/17/2026 by

Prolific lesbian feminist filmmaker Barbara Hammer’s refusal to be written out of history paid off, and Barbara Forever is full of evidence of the impact Hammer, both herself and her work, made on those around her. Beyond just telling the story of the life of a trailblazing lesbian filmmaker, the documentary is an intimate portrait of a fascinating and indomitable woman who treated life as the ultimate adventure.

Barbara Forever received Sundance’s Jonathan Oppenheim Editing Award for U.S. Documentary (the film’s editor is Matt Hixon), with its whirling, dynamic and comprehensive array of film and archival footage from an artist who voraciously documented her own life and the lives of others.

(This is one in a series of film reviews from the 2026 Sundance Film Festival, focused on films by women, trans or nonbinary directors that tell compelling stories about the lives of women and girls.)

Sundance 2026: The Tea Is Profitable. The Land Is Contested. Documentary ‘Kikuyu Land’ Tells the Story.

PUBLISHED 2/13/2026 by

The Kikuyu are a tribal people located in the Kenyan highlands—a gorgeous region now dominated by enormous tea plantations, many owned by multinational corporations. 

As the documentary Kikuyu Land spells out, the farms are owned by wealthy Kenyans and multinational corporations who seem quite capable of hiding their exact provenance. One such corporation: consumer goods behemoth Unilever.

As news of journalists being abducted and people being killed over land disputes filters into the film, Nairobi-based journalist Bea Wangondu tries to track down a representative of Unilever willing to address the allegations against the plantations, going so far as traveling to its headquarters in London. When those efforts fail, she seeks answers in archival records. But, as she digs into her own family and its claims to Kikuyu land, she discovers an upsetting history of complicity and betrayal.

The documentary is a gripping investigation with stakes that are both intimately personal and startlingly global, contrasts the arresting beauty of its geographical setting with the dark underbelly of its secrets.

(This is one in a series of film reviews from the 2026 Sundance Film Festival, focused on films by women, trans or nonbinary directors that tell compelling stories about the lives of women and girls.)

Who’s American? Whose America? Bad Bunny’s Radical Halftime Message

PUBLISHED 2/12/2026 by and

Thirteen minutes is how long it lasted, and global superstar Bad Bunny—full name Benito Antonio Martínez Ocasio—more than delivered. Set against pulsating Afro-Latin rhythms and brimming with the energetic dancing bodies of Black, Brown and other multicolored peoples, the 2026 Super Bowl halftime show transformed this historic moment of the first all-Spanish musical spectacle into a cultural reset. Now counted among the most watched halftime performances—with close to 130 million views—the Super Bowl was rightfully renamed the “Benito Bowl.”

Bad Bunny’s performance came just one week after he made history as the first artist recording exclusively in Spanish to win the Grammy’s top honor for Album of the Year. It arrived, too, amid escalating violence tied to ICE enforcement and the policing and deportation of Brown and Black communities. At a moment when the U.S. president is railing against diversity, equity and inclusion—and circulating virulently racist content targeting his predecessor and the nation’s first Black president and first lady during Black History Month—the cultural resonance of this halftime show feels all the more potent.

Bad Bunny’s dynamic performance is an affirmation of the same communities currently terrorized by state-sanctioned violence. At rallies and marches, people play Bad Bunny. In moments of grief and passion, people play Bad Bunny. His refusal to be silenced, to be forgotten, is an inspiration of hope and resilience for social movements. His music is music of the revolution, which was spectacularly televised in the middle of a widely watched football game.  

Sundance 2026: The Masculinist and Eugenicist Origins of AI Are Writ Large in Documentary ‘Ghost in the Machine’

PUBLISHED 2/12/2026 by

A fast-paced Sundance documentary, Ghost in the Machine traces how modern AI’s obsession with “intelligence” and innovation is rooted in the eugenicist, sexist and racial hierarchies that have long shaped Silicon Valley and its technologies.

(This is one in a series of film reviews from the 2026 Sundance Film Festival, focused on films by women, trans or nonbinary directors that tell compelling stories about the lives of women and girls.)

Sundance 2026: A Film About Revolution and Hope, ‘The Friend’s House Is Here’ Shows How Art and Friendship Sustain Resistance

PUBLISHED 2/11/2026 by

Even when it’s created at great personal risk, nothing can negate the power of art. So, too, the importance of friendship, which impacts our choices, shapes our ideas about the past, present and future, and changes lives.

These are central themes of The Friend’s House Is Here, a U.S.-Iranian co-production that won the U.S. Dramatic Special Jury Award for Ensemble Cast at Sundance this year. In their presentation of the award, the jury praised the film’s ensemble cast “for delivering performances that each of us could find ourselves in, revealing a story that is frighteningly universal. The ensemble injects the world with gravity, love, and humor, and shows us the way community and connection are often our key to survival.”

In a case of life imitating art, the film circulates through its own act of defiance: It had to be smuggled out of Tehran for it to be shown at Sundance.

(This is one in a series of film reviews from the 2026 Sundance Film Festival, focused on films by women, trans or nonbinary directors that tell compelling stories about the lives of women and girls.)

Olympians on Olympians: Women Athletes Honor the Trailblazers Who Made Today’s Games Possible

PUBLISHED 2/10/2026 by

Organizers of the 2026 Milano-Cortina Winter Olympics are touting “the most gender-balanced Olympic Winter Games in history,” reflecting years of pressure from athletes who have questioned why women and men do not always have the same number of events or chances to participate.

These gains did not happen on their own—they are the result of sustained advocacy by women athletes who have pushed the International Olympic Committee to expand women’s participation, add events, and commit to gender equity in both athlete quotas and medal opportunities. Even as parity edges closer, competitors and supporters continue to call out the remaining gaps—keeping the pressure on Olympic leadership to deliver full equality across all sports.

Bad Bunny’s Super Bowl Show Was a Love Letter to Puerto Rico, the Americas and the Latino Diaspora

PUBLISHED 2/9/2026 by

Like a 19th-century sugar cane plantation brought to life, Bad Bunny’s Super Bowl halftime show staged a visually rich jíbaro vision of Puerto Rico—the foundational cultural figure representing the island’s self-sufficient, hardworking mountain farmers—in Santa Clara, Calif., a region long shaped by Spanish colonization and U.S. expansion, on land where Ohlone (specifically Tamien/Tamyen) people lived alongside coastal Miwuk, Patwin and Yokut communities.

The show’s imagery underscored layered histories of colonization and empire that resonated beyond the stadium.

A love letter to Puerto Rico, its diaspora and Latino people across the globe, the performance suggested that love was indeed stronger than hate, as millions danced to the sounds of freedom, whether they recognized it or not.