Omaha - Review of the 2025 Sundance Film Festival

      Omaha, 2025.

      Directed by Cole Webley.

      Starring John Magaro, Molly Belle Wright, Wyatt Solis, Talia Balsam, Emma Keifer, and Teo Santos.

      SYNOPSIS:

      Following a family tragedy, siblings Ella and Charlie are roused by their father and embark on a cross-country trip, discovering a new world along the way. As their journey progresses, Ella starts to realize that appearances can be deceiving.

      In the dead of night, John Magaro's unnamed father wakes his young children for an extended drive. He tells Ella (Molly Belle Wright) to envision their house catching fire and only gather what she would take in that situation. This statement hangs heavily over Omaha, primarily because the urgency of their hurried departure from Sacramento raises questions about the stakes involved. It quickly becomes evident that the father is not facing legal issues and that the mother has tragically passed away from a terminal illness, leaving him with a burden that goes beyond just grief. His predicament about what he must do or where he may be moving along with his children weighs heavily on him.

      The father also exhibits mood swings, sometimes becoming irrationally upset over minor things, like when Ella advises him not to feed the dog human food. However, there are also tender, loving moments that display his affection for his children, particularly when he forgoes his Lunchable due to financial aid issues. Interspersed throughout their journey are relatable scenes of him, Ella, and Charlie (Wyatt Solis) flying kites in desert landscapes (beautifully filmed by cinematographer Paul Meyers), playing around in a hotel pool, or excitedly setting off fireworks. While driving, they listen to some of Mom's song covers on CD, which adds an emotional touch.

      At a gas station, another customer suggests that Ella take her and her brother to the Omaha Zoo. When she proposes this, their father replies with a nonchalant "maybe," despite not appearing rushed. Much about the story involves motives that intentionally leave the audience feeling unsettled, which seems to be a deliberate misstep. Omaha revolves around a peculiar theme that comes across as a climactic plot twist using uncomfortable emotional manipulation, regardless of the commendable performances by John Magaro and the children, especially young Molly Belle Wright.

      Omaha might have been more effective if it had provided insights into the father’s motivations earlier or at least developed his character beyond a fluctuating dynamic with his children. Sticking to his viewpoint in the last 20 minutes raises questions about creative decisions, particularly as the film aims for empathy when it ought to delve deeper into the circumstances.

      Ultimately, this film feels shallow in its approach to complex themes, which is surprising given that screenwriter Robert Machoian (director of The Killing of Two Lovers, which tackled domestic issues sensitively) penned the script. One could speculate that he recognized Omaha fell short of his previous works and chose to pass the directing reins to someone else. It's also possible that director Cole Webley made changes that stripped the characters of depth. They are depicted with some humanity until an ill-fated attempt at emotional impact in the finale comes across as unearned and heavy-handed.

      Omaha has a solid base for a heartbreaking narrative but is poorly executed and features underdeveloped characters. It aims to mirror two recently acclaimed films about poverty and parenthood yet fails to grasp what made those films resonate.

      Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★

      Robert Kojder is a member of the Chicago Film Critics Association, Critics Choice Association, and Online Film Critics Society. He also serves as the Flickering Myth Reviews Editor. Check here for new reviews and follow my BlueSky or Letterboxd.