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

Sundance film festival: the actor plays a pickpocket who steals from the wrong person in a leisurely, straightforward crime thriller with a sting in its tail

Noah Segan’s light-footed crime noir The Only Living Pickpocket in New York is a film obsessed with the gap between the old and new. There are memories shared about how things used to be, and some older characters refusing to keep up with digital progression, while there are eye-rolls from the younger generation, poking fun at those losing touch with how the world now operates. I’d argue that the theme is often a little overplayed, a classic case of writer-director Segan – a frequent Rian Johnson collaborator – telling rather than showing. But his film makes a convincing case for the old, a brisk throwback to a 70s-era character-led thriller, made with borrowed flair from yesteryear.

The title is itself partly borrowed from a Simon and Garfunkel song and speaks to a protagonist of a dying breed, a pickpocket who prides himself on the old ways; though he might swipe smartphones, he doesn’t own one. He’s played by John Turturro, an actor who hasn’t enjoyed many a lead role of late – his last was in the ill-received Big Lebowski “sequel” The Jesus Rolls and that’s only because he wrote and directed it himself. But this is a welcome step up, or step back up, for someone deserving of something more substantial to tear into. Fittingly, he’s someone who would have arguably had a more prominent career as a leading man in a different time.

The Only Living Pickpocket in New York is screening at the Sundance film festival and is seeking distribution