One of the best parts of attending the Sundance Film Festival is catching an amazing feature film from a first-time director. This festival has been a stepping stone for some of the most significant talents of our time, both in front of and behind the camera. You know a film is special when it pulls you in and makes you feel for the characters. Omaha, directed by Cole Webley, is definitely one of those films. It premiered in the US Dramatic Competition section, and while it’s clear where the story is headed, it’s really the journey with these characters that makes it worthwhile. 

The concept

Actor John Magaro finally gets to shine as a leading man after impressing in supporting roles in Past Lives, September 5, and First Cow. In this film, he takes on the role of a father, whose name we learn later on. The story kicks off in a cozy house in 2008, where Magaro's character wakes up his kids, Ella (Molly Belle Wright) and Charlie (Wyatt Solis). Ella suggests they take a picture of their late mother, hinting that she passed away from an illness some time ago. Their loyal golden retriever, Rex, joins them on this journey. I really dislike when movies mistreat animals, but thankfully Omaha handles this well, offering a bittersweet resolution that makes sense as the story unfolds.

Ella senses there's more to this trip and her dad's quietness than he lets on, but she happily goes along for the ride. One of the film's most touching moments is when the siblings fly a kite during a break from driving, beautifully captured by Webley. These scenes give Omaha its emotional depth, even if the plot takes a somewhat predictable turn.

This is a slow-burn drama, enhanced by a rich score from Christopher Bear and the striking visuals from cinematographer Paul Meyers, who skillfully contrasts the cramped car space with the expansive highway views. While the film takes its time to explore the family's journey, it sometimes holds back too much, which might be why the powerful ending feels a bit flat and distant.

To wrap things up

Omaha often brings to mind Aftersun, especially in how both films explore themes of fatherhood and grief. John Magaro delivers a captivating performance as a man slowly succumbing to his sorrow. “I’m just tired,” he admits when Ella finds him awake in the hotel bathroom. However, the real standout is newcomer Molly Belle Wright as Ella. She brings a haunting depth and intelligence to her role, particularly as her worries start to surface during their journey to Nebraska.

The film doesn’t glamorize the characters' pain; instead, it feels a bit too reserved and stubborn in its subtle storytelling. One might question the director's choice to end the film with a sudden influx of information, which might have been more effective if spread throughout. Nevertheless, stick with dad, Ella, and Charlie on this journey. Trust them when they say, “It’s for the best.” That’s probably all they can really ask for.

Santanu Das is covering Sundance Film Festival 2025 as part of the accredited press.

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