Carousel (2026) Movie Review: A Mature, Melancholic Exploration of Rekindled Love and Domestic Turbulence

Sundance has always been a sanctuary for small, character-driven stories that prioritize emotional honesty over spectacle, and Rachel Lambert’s latest feature, Carousel (2026), fits that mold perfectly. Produced by Latigo Films and Barry Linen Motion Pictures, the film had its world premiere in Park City on January 22, 2026. Lambert, who previously charmed indie audiences with Sometimes I Think About Dying, returns here as both director and writer, continuing her trend of exploring the quiet, often overlooked corners of the human experience.

The film stars Chris Pine as Noah, a pediatrician whose life is a carefully constructed routine revolving around his medical practice and the care of his high school-aged daughter, Maya (Abby Ryder Fortson), who struggles with severe anxiety. This fragile stability is upended when his former high school flame, Rebecca (Jenny Slate), returns to town. What follows is not a typical "second chance" romance filled with grand gestures, but a messy, realistic look at two adults grappling with their pasts while trying to navigate a complicated present. With a supporting cast that includes veterans like Sam Waterston and Katey Sagal, Carousel arrives as a thoughtful meditation on the lingering impact of first loves and the weight of familial responsibility.

Story and Screenplay: A Gentle Rhythm Interrupted by Audacity

The screenplay for Carousel is a "lilting romance for grownups" that takes its time. Lambert trusts her viewers to sit with the characters, eschewing rapid-fire plot beats for a more observational approach. The narrative focuses on the "what ifs" that haunt middle age. When Noah and Rebecca reconnect, the script doesn't just focus on the spark between them; it dives into the logistical and emotional baggage they’ve accumulated over two decades apart. There is a secondary, deeply resonant theme involving the "primal ambivalence" of selling a family home, which serves as a potent metaphor for the difficulty of letting go of the past.

However, the writing is not without its quirks. The story can feel somewhat disjointed, particularly in the way it handles Maya’s subplot. For much of the film, her anxiety is a central, suffocating force, yet her resolution—attending a summer program and suddenly being "fine"—feels slightly abrupt compared to the grounded nature of the rest of the film. Furthermore, the script takes a wild, "audacious" turn during a sequence where Noah goes on a self-destructive bender at an airport terminal. While this scene provides a shocking break from the film's "hermetic gloom," it wears its boldness a bit too obviously, feeling like a stylistic departure that doesn't quite mesh with the gentle, everyday reality Lambert establishes elsewhere. Despite these narrative hiccups, the script excels in its smaller moments, capturing the "mannered" yet "touchingly real" way that people actually talk to one another when the stakes are high.

Acting and Characters: Powerhouse Performances in a Quiet World

The true strength of Carousel lies in the "beguiling tenderness" shared by Chris Pine and Jenny Slate. Pine continues his recent trend of deconstructing his leading-man persona, delivering a performance of "exquisite understanding." As Noah, he portrays a father whose authority is born out of desperation and love, particularly in a standout kitchen argument that captures the "squirmy misery" of a man trying to maintain control as his world shifts. It is a subtle, internal performance that highlights Pine's range as a dramatic actor.

Jenny Slate is equally impressive in a role that is almost entirely "shorn of comedy." Known for her wit, Slate here leans into a vulnerability that is raw and affecting. She makes the audience feel the discomfort of being an "incomer" in Noah's established life, and her chemistry with Pine feels lived-in and authentic. Abby Ryder Fortson also turns in a strong performance as Maya, capturing the frantic energy of teenage anxiety, even if the script eventually fails her character’s arc. The veteran supporting cast, including Sam Waterston and Katey Sagal, provide a sense of history and "gravitas" to the proceedings, making the town feel like a place with deep roots and long memories.

Direction and Technical Aspects: A Vision of Everyday Life

Rachel Lambert’s direction is characterized by a profound trust in her actors. She allows scenes to breathe, often staying on a character’s face just a few seconds longer than a typical director might, capturing the silent realizations and regrets that define their journey. Her vision is one that "revels in the pleasures of everyday life," making the mundane aspects of Noah’s medical practice or the process of home renovation feel significant. The visual storytelling is deliberate and "gentle," matching the "lilting" pace of the romance.

The cinematography and production design work together to create an atmosphere of "hermetic gloom" that reflects Noah’s state of mind. The film feels intimate, almost claustrophobic at times, which serves the story’s focus on domestic disputes and internal struggles. However, the film's visual identity is occasionally as disjointed as its narrative. The contrast between the grounded, realistic scenes and the more stylized, "audacious" sequences like the airport bender can be jarring. While Lambert’s style is distinct, the "mannered" nature of the direction may feel a bit too polished for those looking for a more raw, indie aesthetic.

Trailer Carousel (2026)

Music and Atmosphere: The Sound of Melancholy and Reflection

The audio landscape of Carousel is essential to its mood. The score is described as "lilting," mirroring the ebb and flow of Noah and Rebecca’s relationship. It avoids being overly sentimental, instead opting for a soundscape that reinforces the film’s "melancholic" and "mature" tone. The sound design effectively captures the quietude of a life that has been settled for too long, making the sudden intrusions of conflict—like the biting dialogue in the kitchen argument—feel all the more sharp.

The overall atmosphere is one of reflection. The film feels like it is "premiering at Sundance" in every sense of the word; it is moody, deeply personal, and unafraid to ask "big questions about love" without providing easy answers. The title Carousel remains a point of contention among critics, as its meaning feels "too abstract" for the story being told. This abstraction contributes to the film’s sense of "hermetic gloom," creating a world that feels self-contained and perhaps a bit too isolated from the outside world. Yet, this very isolation is what allows the central romance to feel so intense and "worth it" by the end.

Strengths and Weaknesses

Strengths:

• Lead Chemistry: Chris Pine and Jenny Slate achieve a "beguiling tenderness" that makes their rekindled romance feel authentic and deeply earned.
• Emotional Maturity: The film avoids rom-com tropes, instead opting for a "romance for grownups" that deals with real-world baggage and parental anxiety.
• The Kitchen Argument: A masterfully staged and "beautifully acted" scene that captures the stinging reality of domestic disputes.
• Trust in the Audience: Rachel Lambert’s direction respects the viewer’s attention span, allowing the story to unfold with a "gentle" and natural rhythm.

Weaknesses:

• Disjointed Narrative: Some sequences, notably the "airport bender," feel like they belong in a different movie and wear their "audacity" too proudly.
• Abstract Title: The name Carousel doesn't clearly connect to the plot, leaving a sense of "mannered" abstraction that may frustrate some viewers.
• Inconsistent Subplots: The resolution of the daughter’s anxiety arc feels rushed and "fine" all too quickly, undermining the film’s earlier grounded stakes.
• Hermetic Gloom: The film’s pervasive sense of melancholy and its "mannered" tone may feel too heavy or overly indie-cliché for some audiences.

Final Verdict: A Beguiling, Though Imperfect, Tale of Second Chances

Rating: 3.5/5 stars

Carousel is a film that rewards patience. It is a "lovely, lilting romance" that isn't afraid to get its hands dirty with the "squirmy misery" of adult life. While it falters with some "disjointed" narrative choices and an ending for its younger characters that feels a bit too convenient, the central performances are so strong that they carry the film through its rougher patches. It is a "flawed drama" that ultimately feels "worth it" because of the honesty it brings to its portrayal of love, parenting, and the "primal ambivalence" of moving on from the past.

This is a movie for those who appreciate character-driven stories that "revel in the pleasures of everyday life" and don't require explosive conflict to be engaging. It will resonate deeply with fans of Rachel Lambert’s previous work and anyone who enjoys watching talented actors like Pine and Slate stretch their dramatic muscles. However, those looking for a traditional, lighthearted romantic comedy or a fast-paced plot may find the "hermetic gloom" and "mannered" pacing a bit alienating. Ultimately, Carousel is a "mature" and "touchingly real" addition to the 2026 indie landscape that proves second chances are rarely simple, but often beautiful.

Recommendation: If you are a fan of grounded indie dramas that focus on performance and "big questions," put this on your watchlist. It’s a beautifully acted, if slightly uneven, journey through the heart.