10 Most Anticipated Independent Films of 2026

Sundance just wrapped. A24 and Neon have packed their year with releases ranging from debut features to new works from established directors. Honestly, I’m not sure all of these will find their audience, but they generated enough buzz at the festivals to warrant attention. Here are ten worth keeping an eye on—some might become year-end contenders, others might fade quietly.

The Drama: Zendaya and Pattinson in Relationship Crisis

A24’s The Drama comes from Kristoffer Borgli, who made Dream Scenario. This time he’s got Zendaya and Robert Pattinson playing a couple falling apart. Borgli seems obsessed with how people damage each other in close quarters. The film releases April 3.

Mother Mary: Lowery’s Catholic Experiment

A24 is betting heavily on David Lowery’s Mother Mary. The film centers on a community of Catholic nuns wrestling with faith and desire. Lowery shot in an actual monastery on Ireland’s west coast, mostly with non-professional actors. He told Variety this was his “closest approach to documentary fiction.” Florence Pugh spent six months learning Latin prayers. Release is May 23, timed for Cannes.

Josephine: Sundance’s Big Winner

Josephine took the Grand Jury Prize at Sundance, directed by Beth de Araújo. Gemma Chan and Channing Tatum star in this psychological drama about an 8-year-old girl who witnesses violence. Goodfellas grabbed distribution after the premiere. Expect this one to surface during the 2026-27 awards season.

Wicker: Slow-Burn Folk Horror

Wicker won awards at Sundance for its take on folk horror. Mark Jenkins shot this pagan ritual story in the Scottish Highlands. He worked on The Lighthouse crew but refused to copy Eggers. Almost no dialogue—just environmental sound and score. A24 bought North American rights immediately, planning an October Halloween release. I caught this at Sundance. The pacing is deliberately slow; people walked out.

The Invite: Influencer Nightmare

A24’s The Invite comes from the Hereditary writer. An influencer accepts a mysterious dinner invitation from a wealthy man, then things get weird. Shot in an actual Los Angeles mansion with long takes and static cameras. Anya Taylor-Joy follows up The Queen’s Gambit with more psychological material. Releases July 11.

I Love Boosters: Sean Baker’s Latest

Sean Baker won the Audience Award at Sundance for I Love Boosters. He shot on iPhone again—this time following a supermarket loss prevention officer. No professional lighting, just fluorescent tubes. The cast are actual retail workers, not actors. Neon picked it up for a small August release.

Sheep in the Box: Romanian Bureaucracy

Cristian Mungiu’s Sheep in the Box continues his obsession with institutional absurdity. A farmer tries to claim insurance on a dead sheep and drowns in paperwork. Mungiu’s signature fixed long shots run over ten minutes. Won a Special Jury Prize at Berlinale. MUBI has North American rights, releasing September day-and-date in theaters and streaming.

The Outrun: Ronan’s Comeback

Saoirse Ronan stars in and produced The Outrun, adapted from Amy Liptrot’s memoir about alcoholism and recovery on Scotland’s Orkney Islands. Director Nora Fingscheidt shot in natural light with minimal dialogue. Ronan appears without makeup. Sony Pictures Classics is targeting awards season with a late March release.

Celine Song’s Follow-Up

Past Lives director Celine Song’s second feature is still untitled, but A24 already slotted it for November. Two lovers reunite in Tokyo after thirty years apart. Song used a Japanese cast and crew, shooting on location for four months. She told Film Comment this one is more experimental than Past Lives—static compositions, heavy use of environmental sound. The cinematographer previously shot for Japanese New Wave director Masahiro Shinoda.

What It All Means

Sundance deal data this year shows indie budgets down 15% on average. Good news or bad? Cheaper production means more voices get heard, but also tighter constraints. Netflix and Apple TV+ spent heavily acquiring films at the festival, though whether those films reach actual audiences is anyone’s guess.

Will all ten succeed? Unlikely. Some will dominate awards conversations; others will sink quietly onto streaming. But they represent alternatives to the Marvel sequel machine. More indies are coming from Cannes and Venice. We’ll see what survives.