Steven Soderbergh’s haunted-house movie, films starring Kieran Culkin and Aubrey Plaza, and docs about Christopher Reeve, Amazon workers, and Argentinian cowboys are among THR critics’ faves from the fest.

Writer-director Aaron Schimberg offers an endearingly twisted take on actors, playwrights, egos and the plight of the disfigured. The provocative, dark A24 comedy centers on an aspiring thespian with neurofibromatosis (played with tongue-in-cheek gravitas by Sebastian Stan) who finds a cure, only to long for the life he had when his face was still deformed. Renate Reinsve and Adam Pearson (who has neurofibromatosis himself) shine in key supporting roles. — JORDAN MINTZER

If it takes doing an MCU movie for filmmaking duo Anna Boden and Ryan Fleck (Captain Marvel) to plunge into the kind of exhilarating creative exorcism that Freaky Tales represents, bring on the superheroes. Not even their distinctive indies like Half Nelson and Mississippi Grind can prepare you for the kinetic energy, imagination and righteous battles — both rap and blade slice-and-dice — of this love letter to the Bay Area, told in four interconnected underdog stories starring Pedro Pascal, Jay Ellis and Ben Mendelsohn. — DAVID ROONEY

The new film from The Truffle Hunters doc-makers Michael Dweck and Gregory Kershaw takes them to the mountainous Salta region of northwest Argentina to capture the passion, spirituality and profound symbiosis with nature of a community of cowboys and cowgirls. The film accesses captivating characters who very clearly relish their freedom from contemporary society. But the real stars are the magnificent black-and-white images. — D.R.

The modesty of India Donaldson’s first feature makes the gradual exposure of its protagonist’s emotional depths all the more transfixing. Contrasting the intimacy of its gaze with the expansive beauty of its woodland setting, the drama chronicles a camping trip taken by a college-bound 17-year-old (Lily Collias), with her dad (James Le Gros) and his best buddy (Danny McCarthy). It’s an exceptionally strong calling card for both the writer-director and the young lead. — D.R.

Alessandra Lacorazza’s quiet debut film is a kind of visual poem, an enveloping ode to experiences shared by a father and his daughters. Chronicling the complicated relationship between a New Mexico man and his two kids over the course of four summer vacations, the drama, like last year’s Sundance stunner All Dirt Roads Taste of Salt, sways to its own rhythm. It’s a subtle and sensitive exploration of forgiveness and healing. — L.G.

That Luther Vandross hasn’t gotten the documentary treatment until now is surprising, considering his imprint on the music industry. Dawn Porter rectifies that with an ebullient portrait, making striking use of rehearsal footage, concert videos, old interviews with Vandross and newer ones with his friends and family. Porter takes the media attention on the R&B balladeer’s body (he long struggled with his weight) as an entry point to examine Vandross’ desire to be loved. — L.G.

It’s always a nice surprise to encounter a fresh face who’s also a natural screen presence. That’s very much the case with the captivating Maisy Stella, who plays Elliott, a teen about to head off to college, in Megan Park’s warm blend of comedy, romance and whimsical fantasy. The fact that the newcomer gets to bounce off Aubrey Plaza, in peerless sardonic form as Elliott’s advice-dispensing future self, just sweetens the deal. Not since Toy Story 3 has a movie been so in touch with the tender feelings associated with leaving home and saying goodbye to childhood. — D.R.

It’s an invigorating feeling to know early on in a movie that you’re in confident hands, and Steven Soderbergh conveys that assurance instantaneously in his nail-biting, single-setting ghost story. Lucy Liu, Chris Sullivan, Eddy Maday and newcomer Callina Liang star as a family on the brink of falling apart when they move into a new home. It’s clear from the start that the house will be a major character. But even more significant — and chilling — is the point of view behind the subjective camera that gives this masterfully executed horror film its title. — D.R.