Antiheroine, a new film about the musician’s tumultuous life and career, premiered at the festival with some frank admissions but the star not present

A new documentary about the gen X icon and “queen of grunge” Courtney Love caused a stir at the Sundance film festival – without the legendary Hole frontwoman in attendance.

The musician and actor, now 61, was supposed to attend the premiere of Antiheroine, a new retrospective documentary by Edward Lovelace and James Hall that traces her storied life and career, but did not make it for undisclosed reasons. “We’re really gutted that Courtney couldn’t make it tonight to celebrate this moment with us all,” said Lovelace in his introduction for the film’s premiere in Park City, Utah, calling Love “so unfiltered, so truthful”.

Sundance film festival: Jay Duplass recruits David Duchovny, Hope Davis and Kaitlyn Dever for a patchy, poignant tale

If anyone can speak to the “end of an era” nostalgia coursing through the legacy-minded 2026 Sundance film festival, its final edition in Park City and its first without founder Robert Redford, it would be Jay Duplass. The film-maker first attended the indie festival along with his brother, Mark, in 2003, with a self-proclaimed “$3 film”, then went on to premiere three projects – The Puffy Chair, Baghead and Cyrus – that epitomized the much-debated, very indie mumblecore movement of yore. For the Duplass brothers, the festival was, as it has been for many a small-budget artist trying to break out, the difference between a career and another $3 film. Without Sundance, he recently joked: “I’d probably be a psychologist right now.”

Psychologist sympathies peek through See You When I See You, Duplass’s feature film return to the festival after 16 years largely focused on acting and directing episodic television, notably for Togetherness, Search Party and the criminally underseen Somebody, Somewhere. An earnest adaptation of comedian Adam Cayton-Holland’s memoir, Tragedy Plus Time, the 102-minute film is both a straightforward tribute to psychotherapy and a tightrope walk of tone, attempting to balance profound grief with breezy comedy for a family reeling from a shocking loss.

See You When I See You is screening at the Sundance film festival and is seeking distribution

The AI Doc: Or How I Became an Apocaloptimist, co-directed by Daniel Roher, delves into the world of AI through the lens of personal anxiety

Are we barreling toward AI catastrophe? Is AI an existential threat, or an epochal opportunity? Those are the questions top of mind for a new documentary at Sundance, which features leading AI experts, critics and entrepreneurs, including Sam Altman, the OpenAI CEO, with views on the near-to-midterm future ranging from doom to utopia.

The AI Doc: Or How I Became an Apocaloptimist, directed by Daniel Roher and Charlie Tyrell and produced by Daniel Kwan (one half of The Daniels, the Oscar-winning duo behind Everything Everywhere All At Once), delves into the contentious topic of AI through Roher’s own anxiety. The Canadian film-maker, who won an Oscar in 2023 for the documentary Navalny, first became interested in the topic while experimenting with tools released by OpenAI, the company behind the chatbot ChatGPT. The sophistication of the public tools – the ability to produce whole paragraphs in seconds, or produce illustrations – both thrilled and unnerved him. AI was already radically shaping the film-making industry, and proclamations on the promise and peril of AI were everywhere, with little way for people outside the tech industry to evaluate them. As an artist, he wondered, how was he to make sense of it all?

A conflicted mood has lingered over Utah’s long-running film festival with premieres and parties continuing but stars speaking out against government cruelty

The news began to spread through the Sundance film festival on Saturday morning, as people emerged from early screenings or long nights out at the bars on Main Street.

“If you all have not heard what’s going on in Minnesota this morning, someone else was murdered by ICE,” director Ava DuVernay told the audience at a panel on freedom of expression, referring to the shooting that morning of Alex Pretti, a 37-year-old ICU nurse, by federal agents in Minneapolis.

Sundance film festival: a new documentary explores the author’s physical and spiritual healing from the 2022 knife attack that almost killed him

On 12 August 2022, as Salman Rushdie was about to launch into a lecture on the importance of protecting writers from harm at New York’s Chautauqua Institution, a man in a black mask rushed the stage with a knife. To the horror of the packed amphitheater, the man stabbed the Indian-born British-American author – once the subject of an infamous fatwa from the leader of Iran in the 1980s – 15 times in the face, neck and torso, before members of the audience rushed the stage and disarmed him. Rushdie survived, narrowly; the stabbing left him on a ventilator, severed tendons in his left hand, and cost him his right eye.

A full recreation of that attack from Rushdie’s perspective — 27 seconds of struggle, the mysterious man’s face, several sickening punches of blade — opens a new documentary on Rushdie’s recovery and resilience, which drew a standing ovation at the Sundance film festival. Knife: The Attempted Murder of Salman Rushdie, directed by Alex Gibney and based on Rushdie’s memoir of the same name, is unsparing on the devastating results of the stabbing: in never-before-seen footage recorded by the author’s wife, Rachel Eliza Griffiths, Rushdie appears gruesomely disfigured — his skin discolored, his entire abdomen bisected by stitches, his swollen neck held together by stitches, his eye indescribably mangled. His first coherent thought after regaining consciousness, he recalls in the film, was simply: “We need to document this.”

Sundance film festival: an underground scene of creatives in Tehran is threatened in this lived-in hangout movie that bravely chooses optimism over negativity

It’s a summer evening in Tehran, and the streets of the Iranian capital are lively. A young creative couple, an actor and a dancer, coolly take in a performance from a band of street musicians. “This country is so full of artists,” the man, Ali (Farzad Karen), says to Hanna (Hana Mana). She replies warily: “Let’s see if they stay like this.”

The remark is delivered casually in Maryam Ataei and Hossein Keshavarz’s stirring new film The Friend’s House Is Here, sprinkled in between airy banter and snippets of various rehearsals, but it’s no trivial matter. Under Iran’s theocratic regime, creative expression is a risky and unstable endeavor. The government tightly polices the contents of all art – visual works, theater, music, film, literature – for strict adherence to state ideology. Failure to receive a permit could result in fines, imprisonment or banishment. The colorful characters amiably populating this loose, organic film, played by a collective of real-life underground artists and improv actors, are liable to be harassed, fined, arrested or disappeared at any moment.