From 'Nanny' to 'The Exiles,' a virtual Sundance puts a human face on past and present horrors
Is it horror or just real life? The question kept coming up at this year's all-virtual Sundance Film Festival — particularly in the American dramatic competition, where the buzzier entries included "Master," Mariama Diallo's bold if muddled chiller about Black women in white-dominated academia, and "Palm Trees and Power Lines," Jamie Dack's jolt-free but thoroughly unsettling portrait of a teenager falling into a sexual predator's clutches: not a horror film, per se, but no less horrifying for it.
The jury's favorite in this field was also its most effective and emblematic demonstration of genre-drama hybridization in action: Its grand jury prize went to "Nanny," Nikyatu Jusu's tense and lyrical domestic thriller about a Senegalese immigrant, Aisha (the remarkable Anna Diop), who spends her days minding someone else's daughter while dreaming of the son she left behind.
Before long, Aisha is dreaming about much more: Moldy specters rooted in West African folklore invade her sleep, as do troublingly beautiful visions of the vast ocean that separates her from her son. These visions, frightening
You’re reading a preview, subscribe to read more.
Start your free 30 days