Hollywood needs to see these new coming-of-age movies

Every January, the Sundance Film Festival, which concluded its 40th edition on Sunday, programs a wide range of films by filmmakers from around the world, working in all kinds of languages, styles and genres — expanding moviegoers’ perspectives and experiences.

However, only a small handful of those films get larger platforms outside of the festival: a major theatrical release, Awards campaign And/or the famous names that support them. In another year it was confirmed Support a volatile industry For women, people of color, and other underrepresented voices in film, it’s worth repeating There is no shortage of talent.

Many of the Sundance features that stood out this year could be broadly described as coming-of-age films. But that’s an understatement, as each of the four games below takes this classic genre and gives it something unique. All four films are impressive debuts for their writers and directors, telling deeply personal stories with distinct perspectives.

These films were among some of the Sundance selections made available online to both critics and general audiences during the festival last week. But they, and many other films at the festival, deserve the opportunity to find a wider audience in the coming months.

As of now, these four devices haven’t been distributed in the US yet, so hopefully someone will snatch them up soon and give them the care and attention they deserve.

Premiere by American-Colombian director Alessandra La Coraza Samudio, “in summer” The film follows two sisters, Violetta and Eva, over a series of summers during their childhood, adolescence and early adulthood. Their parents are separated and they live with their mother in California. Every summer, they visit their father, Vicente, in Las Cruces, New Mexico.

He lovingly teaches them how to cook, play pool and navigate using the stars. But he also tends to drink excessively, and sometimes becomes violent. Over time, the girls’ relationship with him becomes more distant, and dealing with his volatility is sometimes more trouble than it’s worth. How do you acknowledge the pain of a parent who wronged you while also realizing that they are usually trying to do the best they can with what they have?

Filmed on location in Las Cruces, “In the Summers” has an undeniable sense of place and lyrical style, with subtle transitions to show the passage of time. It’s also anchored by a poignantly vulnerable performance from rapper Residente, making his debut as Vicente, as well as Sasha Calle and Leo Mehiel as young versions of Eva and Violeta, respectively.

The film won the festival’s Grand Jury Prize for Best American Dramatic Film as well as the Directing Award. In granting the film, said the jury: “A film like this could easily slip through the cracks, which is why we chose to highlight this beautiful piece of cinema and hope it finds the audience it deserves.”

Questioning what we owe to our parents is also central to the semi-autobiographical film by Taiwanese-American director Chun Wang. “Didi (弟弟).” Set in the summer of 2008 (with details painfully familiar to those of us who grew up in the early 2000s), protagonist Chris (Isaac Wang) is about to start high school. It explores what teens like, hobbies, how to spend time with cool kids, and all aspects of the painful process of searching for your identity as an angsty teen.

In addition to its great set pieces, the film also features a standout performance from the great Joan Chen as Chris’s mother. While dealing with an absent husband and a demanding mother-in-law, she raises Chris and sends his older sister to college—all while longing for an identity of her own.

At Sundance, “Dìdi (弟弟)” received a Special Jury Prize for Cast, with the jury praising the “beautiful symphony” of the cast “which helped give this film a sense of vitality and helped bring the joy and joy to life.” The Pains of Growing Up.” It also took home the audience-voted Audience Award. It’s easy to see why audiences will be drawn to this stunning debut film from Wang, who also recently received an Oscar nomination for his Disney+ short film, “NƎi Nai & Wài Pó “.

The social pressures of high school and the love and hate of our parents are likewise a major factor in this “Girls will stay girls” The confirmed feature film by Indian director Shuchi Talaati. The film tells the story of protagonist Meera (Preeti Panigrahi, who received a Special Jury Award for her performance) throughout her final year of high school at a boarding school in India. As president of her class—the first time the school has chosen a woman—she is charged with enforcing strict rules and hierarchies that discourage young women from having power.

Meanwhile, she has a crush on her colleague Sri (Kesav Binoy Kiron). Her mother, Anila (Kani Kasruti), allows them to meet frequently at their home, trying to be the “cool mother.” But as the couple’s relationship deepens, Aneela watches them, heightening the tension between mother and daughter. Through these complex relationships and evocative atmospheres, Talaati weaves a compelling story about teenage desires and patriarchal structures.

Like Talaati, Chinese director Jianji Lin deftly blends the personal and the universal “A Brief History of the Family.” Lin’s engaging drama follows the antagonistic dynamic between high school student Yan Shu and his wealthier classmate, Tu Wei. Shuo’s mother died when he was young and his father was an alcoholic. He therefore longs for the stable family unit of Wei and his parents, who live comfortably in a spacious, high-rise apartment. Shuo gradually grows closer to Wei’s parents, who begin to treat him like their own son – fueling Wei’s jealousy and anger.

Lin’s confident debut uses this quirky maturity meets psychological thriller to explore ideas about the complex nature of the Chinese middle class and its newfound upward mobility, as well as the long-term effects of China’s one-child policy. Narratively, the film constantly keeps viewers guessing and heightens the tension between the two boys all the time, like a pressure cooker about to explode. It’s unsettling – in the best ways.