By Jessica Herndon
One of the most exciting things about the Sundance Film Festival is having a front-row seat for the bright future of independent filmmaking. While we can learn a lot about the filmmakers from the 2025 Sundance Film Festival through the art that these storytellers share with us, there’s always more we can learn about them as people. We decided to get to the bottom of those artistic wells with our ongoing series: Give Me the Backstory!
“Empathy is universal, apolitical, and needed more than ever,” says first-time feature filmmaker Cole Webley, whose movie Omaha will premiere in the U.S. Dramatic Competition during the 2025 Sundance Film Festival. An exploration of what it means to persevere, Webley’s film about a family’s cross-country journey after tragedy strikes as a result of the Great Recession takes us inside their search for stability and hope and emphasizes the power of understanding. “We are so quick to judge,” Webley says. “This film suggests that we don’t always know why people do things, and our first job should be to ask questions, to lean into forgiveness, and to motivate toward positive change.”
Omaha, starring John Magaro (Past Lives) and budding child actors Molly Belle Wright and Wyatt Solis, is a profoundly emotional film based on a screenplay by Fest alum Robert Machoian (The Killing of Two Lovers, 2020 Sundance Film Festival). “The film tells the story of a real occurrence, and the reality is there are sad truths occurring around us every day,” says Webley. “We have the power to enact positivity in anyone’s lives, learn about them, forgive if we need to, and move forward in love. We can search within our communities and offer a hand to those in need. I wanted to put a face to the parents as much as the kids who went through this moment in 2008. I think the film does that.”
Webley, a father of four, says he felt a personal connection to the story when he read Machoian’s script. “I knew nothing of this moment in history, but I related to the experience of fatherhood,” he reveals. “I related to the feeling of grief, loss, hope. Who are these parents? What were they going through? Robert’s script lets us in. I knew that was a world I wanted to get inside.” Webley adds that he felt driven to bring Omaha to life. “When you read a script this good, you know it has to be made. I’d never experienced that. It hits you across the face. Robert’s script had to be made into a film.”
Read on as Webley details what it was like to direct young actors, filming close to his home in Utah, and the advice his parents gave him that helped him become a strong filmmaker.
Courtesy of Sundance Institute.
Films are lasting artistic legacies, what do you want yours to say?
You’re right, at their best, our films are a piece of us. I heard Roger Ebert had said, “The movies are like a machine that generates empathy.” That sums it up. I’m interested in the complexities of humans, but mostly, I love us. I think we are innately good. I think we struggle most of the time. I think people want to be loved, and I want to be part of stories that strip away those differences and connect us. I promise that [it] doesn’t have to be saccharine. It can be raw and dirty and messy, but if you stay long enough it can be immensely rewarding. I’m a father and I know my greatest creation will not be my films, it will be my family. If I can leave a few films behind that connect an audience to a power that brings us closer as humans, I’ll be happy. Is that cheesy? Maybe, but it’s also true.
Describe who you want Omaha to reach.
Everyone. That’s why I loved this script so much! It speaks to all of us. Mothers. Fathers. Children. We’re all one of those three things. We are programmed to want to connect and stay connected to our families. Many people were robbed of that experience. My heart breaks for them. Ultimately, I wanted to explore the effects this moment would have on those involved and the lasting hope to overcome.
Tell us an anecdote about casting or working with your actors.
Everyone says, “Don’t make a film with kids or animals.” I somehow thought it would be a great idea to do both on my first film. I was so lucky to have found Molly Belle Wright and Wyatt Solis. They were 9 and 6 [years old] at the time of shooting, respectively. Even our dog in the film was so great to work with! It wasn’t without its challenges. Wyatt is a ball of energy and the scenes would often turn the way he went. The film is its best, though, when we followed him and didn’t force him our way.
Molly is a revelation, obviously. She really owns this film. Wyatt’s ability to be incredibly present shocked me. He delivers a performance in a key moment of the film that I couldn’t have dreamed of. Molly is a pro. You fall in love with her character within minutes and that’s because of who Molly is, not because of anything I did.
When it came to casting Dad, John Magaro was, of course, still riding the wave of Past Lives, but I had long been a fan. It’s so essential the dad evoked a sense of complexity and innate warmth. John is that person. When I went out to him with the script, it turns out he had just finished shooting a film for a friend of mine from film school. We bonded over that. I was lucky he loved Robert’s script and took a chance on me. If I was on the hill leading the battle, John was in the trenches with two young children trying to lead the charge. He never complained. He never broke that trust with the kids. The relationship you see in the film is because of what he gave to this project. I’ll always be grateful for that gift.
What was your favorite part of making Omaha? Memories from the process?
Movies are hard to make. This wasn’t an exception. We shot during the Screen Actors Guild (SAG) strike and were lucky enough to get an interim agreement after much patience. Considering our film is self-funded, we felt we represented the most pure intent of the indie film route and we were grateful to work alongside SAG.
We shot several days across three states, but mostly in Utah. I literally got to sleep in my own bed most days! I also pulled a camp trailer to set every day for the cast and felt some of the weight of making sure we kept within our budget, but also made the best film we could. When we finally hit our little travel stretch through Wyoming and Nebraska, the bonding went to the next level. We even stayed in a haunted bed-and-breakfast somewhere in Wyoming! They made us family style meals and we got to tell stories about some of the crew’s experiences with ghosts. The kids loved it!
What was a big challenge you faced while making this film?
Like most films, our biggest antagonist was time. With our, rightfully limited, hours with Molly and Wyatt we shot our film — adjusted for time on set — in more like an 18-day schedule. Of course that stretched out over more shoot days, but we were under immense pressure every day. The kids were up for it every day. I saw my primary job was to create an environment where everyone could be their best selves and keep it safe and fun for the kids. Not only did I want to make a great film, but I wanted Molly and Wyatt to remember this experience positively for the rest of their lives. I think we did that.
Tell us why and how you got into filmmaking.
I was so lucky. It’s the only thing I’ve ever truly wanted to do. I’m smitten by it. I absolutely love going to movies, making movies, reading about movies. Over the years, this has evolved but I’ll make movies until I’m too old to move. The sense of community, the collective experience, the magic of the screen — it’s always been intoxicating to me. I know that sounds cheesy, but I’m old enough to not care anymore. I love movies and I’m so happy I got to make my first one.
Why is filmmaking important to you? Why is it important to the world?
Film is the universal language of human experience. We all remember those transcendent moments in a theater when we feel like the film was made specifically for you! It’s important to the world because it pushes, pulls, and slaps us into emotional maturity. Also, sometimes you just need to laugh, be thrilled, or get scared to death to feel alive.
What is something that all filmmakers should keep in mind in order to become better cinematic storytellers?
Vulnerability is beauty. Bare it. Feel it. Don’t be afraid to fail! I’ve been doing it for years only to learn from each short film I made, each commercial, each chance to find my voice. I’m just beginning. There is no clock. Being a filmmaker is the greatest job in the world and nobody can tell you that you can’t have it. Recognize your own privileges and open doors for others. It always returns tenfold.
Who are your creative heroes?
Carl Theodor Dreyer, Cormac McCarthy, Wim Wenders, Paul Thomas Anderson, the Dardenne Brothers, and about a hundred others. What a list.
What was the last thing you saw that you wish you made?
Wim Wenders’ film Perfect Days. I was cutting Omaha in New York. I made it a point that during prep I didn’t watch any films. I didn’t want the latest thing I watched to rub off on me during production. During [post-production], I embraced the total opposite position. We would cut for several hours, then I would go to an early screening. It was incredibly inspiring. It reminded me time and again how much of a film is told through tone and performance. Perfect Days struck me deep. The brilliance of Wim is how much he loves his characters. It jumps through the screen.
One thing people don’t know about me is _____.
I speak fluent Spanish! I lived abroad in the Dominican Republic for a few years and I’ve held onto the language. I love it. Shooting commercials for the states in production hubs like Mexico City, Barcelona — where I am now for a commercial — and Chile has kept me sharp. I have made two short films in Spanish. It will be a part of my future films.
Which of your personal characteristics contributes most to your success as a storyteller?
What a question! Not fair. Look, I know how to work hard. That comes from an amazing childhood my parents gave me and my five brothers. They also gave us the right amount of confidence. The kind of confidence that sounds something like this, “You’re going to get kicked around and you’re going to face struggles, but you’re going to be fine because you will get up and try again. And again. And again until you succeed.” So, in many ways you can say any of these things can be attributed to my parents.
Tell us about your history with Sundance Institute. When was the first time you engaged with us? Why did you want your film to premiere with us?
I’ve lived in Utah for just over 20 years. I went to undergraduate film school out here. I directed my first short films just miles away from Park City! I have attended the Festival year in and year out and submitted all of my short films. It’s been that beautiful thing that always seemed just out of reach. It is a dream to be premiering my debut feature film at not only the greatest independent film festival, but one with such a storied history and in my very own hometown!
Who was the first person you told when you learned you got into the Sundance Film Festival?
This one was tough. My hand hovered over the phone for a few seconds. My wife or producer? I called my producer, Preston Lee. My wife has forgiven me.
What’s your favorite film that has come from the Sundance Institute or Festival?
This one is a tie. I was at the premiere of Animal Kingdom by David Michôd. What a ride. I loved that film from frame one. The roar from the audience when Whiplash concluded was something I have never seen before or since. It was magical. Damien’s and David’s Q&As were the icing on the cake.
