Sundance Review: Lena Dunham’s ‘Sharp Stick’

Utopia has taken U.S. rights to writer-director-producer Lena Dunham’s latest directorial Sharp Stick which made its world premiere at this year’s Sundance Film Festival. A theatrical release is planned for later this year.

Jazz Tangcay Artisans EditorLena Dunham’s Sundance entry “Sharp Stick” has been acquired by small indie distributor Utopia for U.S. rights.

Utopia has acquired the U.S. rights to writer-director-producer Lena Dunham’s Sundance comedy “Sharp Stick,” which follows a young woman’s unexpected quest of sexual exploration and self-discovery, Utopia announced on Monday.Utopia will release the film theatrically in the U.S.

Lena Dunham got a little help from her friends! For her new movie,, the star tells  that she asked Taylor Swift and Joe Alwyn for their help, which is why they are given a Thank You credit at the end of the film.«They are just really great friends of mine who watched a really early cut of the film and gave me notes,» Dunham says of Swift, who was a bridesmaid in her wedding, and her actor boyfriend. «They’re both just really interesting, perceptive people. Taylor’s been one of my close friends for a really long time and Joe is an actor who I actually ended up working with on a project that I shot just a few months after this.», directed and written by Dunham and starring Kristine Froseth, Jon Bernthal and Luka Sabbat, follows Sarah Jo, a naive 26-year-old living on the fringes of Hollywood with her mother and sister.

Elizabeth Wagmeister Senior CorrespondentAfter Lena Dunham’s new movie “Sharp Stick” was criticized on Twitter by an autism activist who claimed she was approached to be a consultant on the project, the filmmaking team behind the Sundance film says that the central character, Sarah Jo, was never written to be on the spectrum. Producers say the drama about a young woman’s sexual awakening was inspired entirely by creator Lena Dunham’s personal journey, dealing with severe endometriosis which resulted in a hysterectomy.“Sarah Jo was never written nor imagined as a neurodivergent woman,” a spokesperson for the film says, in part, in a statement to Variety.

Lena Dunham is giving fans some insight into her new movie Sharp Stick!

Lena Dunham is sharing her thanks for Taylor Swift and Joe Alwyn.

The Janes,” “Call Jane” and “Aftershock“). It’s a complex topic to be sure, which Dunham and her cast enthusiastically embraced.

Things have not been going well for Emily. Some of it is just terrible luck.

in a post-screening Q&A, Dunham ran down its many high-minded inspirations. She said she wanted to “give porn its due as something that can be really healing.” And, as a woman who can’t have biological children due to a hysterectomy, Dunham, 35, wished to tell a story about “what it means to make your own family and design your own family and how that’s just as meaningful.” Yes, it is. But does that beautiful message come during the scene when the 26-year-old main character Sarah Jo (Kristine Froseth) scrawls an A-to-Z list of sex acts on colorful construction paper that she’d like to try out with randos? Or when her mom (Jennifer Jason Leigh) gives a vocab lesson on a crude nickname for the male anatomy? Sarah Jo’s sister Treina (Taylour Paige) is adopted, true, but the world is already in universal agreement that adoption is a great thing to do.

Attempting to remake a classic film is never an easy assignment. Especially when said classic is as revered as Akira Kurosawa’s 1952 drama “Ikiru.” Director Oliver Hermanus and screenwriter Kazuo Ishiguro could have placed the story in contemporary times, making a new version more palatable for some critics, but instead, set it in the exact same era only interchanging London for Tokyo.

With a promising start with his first film Shithouse for which he starred, directed and wrote and won the Grand Jury Narrative Prize at SXSW, Cooper Raiff looms now also to be one of the breakouts of this year’s Sundance Film Festival where Cha Cha Real Smooth, his small but splendid second film for which he performs the same triple threat duties debuted Sunday as part of the Dramatic Competition lineup. I can only imagine if the festival had managed to be in person as originally planned rather than virtual in this Omicron-stricken year it would be met with a massive standing ovation. Raiff is bound to become an indie darling as if further proof was needed, but Cha Cha Real Smooth cements him as the real deal both in front of and behind the camera.

Playing in the Premieres section of this year’s Sundance Film Festival, “Sharp Stick,” produced during lockdown, was conceived by Lena Dunham and the film’s director of photography, Ashley Connor, starting from the base elements that were already available to them — namely a set of actors and locations. But while many quarantine-made films have appeared to embrace a “will this do?” aesthetic, implicitly relying on the audience’s sympathy and compassionate understanding to fill gaps and forgive compromises in production value, Dunham has instead created a work of art that comfortably fits within and plays with the limitations imposed by the pandemic.

Owen Gleiberman Chief Film CriticFor a decade, Lena Dunham has kept more than busy, executive producing TV series like “Camping” and “Generation” and putting out her memoir. Yet she’s been notably selective about her main slate of projects, and “Sharp Stick,” which premiered tonight at the Sundance Film Festival, is her third major act.

iveté of Alana Haim’s Alana Kane in “Licorice Pizza.” Sarah Jo is placed as a caregiver in the family of Zach (Liam Michel Saux), his hip, white-dude-who-raps, stay-at-home dad, Josh (Jon Bernthal), and nagging, very pregnant realtor mom, Heather (Dunham). When Treina, through a little social-media sleuthing, catches her man hanging out with his ex’s cousin at Universal Studios, Marilyn offers this advice: “You wanna know if he is really yours? You look him in the eye and you say, ‘Do you find me beautiful?’ It’s foolproof . . .

Rarely has a filmmaker kept his central character at such a distance as writer-director Ricky D’Ambrose does in The Cathedral. This is clearly an autobiographical work in some very important ways, and no doubt a purging of some demons as well. And yet the kid here, whose life the film follows from birth to his acceptance at college, has very few lines of dialogue and for the most part remains a cipher. All the same, this is a penetrating look at childhood that, distinctively, focuses more than anything on the foibles and shortcomings of the child’s parents, particularly his father.