MCN Columnists
Ray Pride

By Ray Pride Pride@moviecitynews.com

On Predicting Sundance Bests

Predicting film festival bests isn’t my game. But I am hopeful for surprises like a couple years back when, toward the end of Sundance, Robert Koehler is urgently telling me to run, don’t think, go directly to an end-of-festival presser for Man On Wire. (Thank you, Bob.) I’d gotten the same pleasure from being at the very first press showing of Once and then gabbling to anyone I hoped would listen. Go! Discover! In the week’s run up to Sundance 2011, I’ve liked posts by programmers and reviewers and filmmakers that aren’t about impressing a 140-character opinion in one sharp tweet of the cheeks. For instance, Toronto’s Cameron Bailey (@cameron_tiff) hits the ground happy: “Sunshine, snow, SUVs, excessive cheer. Hello Park City!” A keen reminder to get out of doors and read those tweets while waiting for the shuttle to get to headquarters for that badge…

This afternoon, Movieline solicited from attendees three films they wouldn’t dream of leaving Sundance without seeing, and sleep-deprived that I am already, fished out three sincere replies. Top of mind is the premiere I’m seeing in six hours about three miles out to the far edge of town at the Temple Theater, Steve James and Alex Kotlowitz‘s The Interrupters. James is a consummate observer and collaborator, and his work with nonfiction ace Kotlowitz holds promise. Its 161-minute running time suggests the Kartemquin crew is going for the same kind of observational, longitudinal work looking at superficially troubled communities, such as Hoop Dreams, to name but one fine film James has made. Braden King‘s earlier work, including Dutch Harbor, builds off rhythmic accretion, a sense of the land, a drenching sonic texture. Why not make a movie like HERE, about a geolocator gone astray in Armenia? (Plus, it’s shot by Lol Crawley, whose credits include Ballast.) Two years ago, one of the co-directors of The Redemption Of General Butt Naked [pictured, top] told me the story at a Sundance event in 2008. My reaction was physical: I leapt up and looked around the room for people to introduce her to, someone who might know someone who could get this amazing story brought to completion. The title is provocative, but the tale, well, if it matches what I heard…

Comments are closed.

Pride

Quote Unquotesee all »

“BATTLE OF THE SEXES: Politics and queerness as spectacle/spectacle as politics and queerness. Pretty delightful, lovely, erotic. A-

“Not since EASY A and CABARET have I seen Emma Stone give a real sense of her range. Here, she has pathos and interiority and desire. I love the cinematography and the ways in which the images of the tennis icons are refracted and manipulated via various surfaces/mediators. Also, wild how a haircut is one of the most erotic scenes in cinema this year. Spine tinglingly tactile that feels refreshing. Proof that *cough* you don’t need to be ~graphic/explicit~ to be erotic *cough*. Also, it made me want to get into tennis. Watching it, at least.

“There are interesting touches and intimations as to the cinematic nature of sports, & unpacking the formal approach of broadcasting sports.Also, I was here for Sarah Silverman smoking. And also, hi Mickey Sumner!! It’s a really interesting film about the ways in which public spectacle is never apolitical, and how spectacle is prone to assignation.

“There’s this one other scene from BATTLE OF THE SEXES that I love, and it’s the one in the bar. You see Billie looking after Marilyn as she dances. Through a crowd. There’s a paradoxical closeness and distance between them. In the purple light, and the kitschy decor, everything is distorted. But Billie catches a glance and you can feel the nervous swell inside.”
~ Kyle Turner

“Our business is complicated because intimacy is part and parcel of our profession; as actors we are paid to do very intimate things in public. That’s why someone can have the audacity to invite you to their home or hotel and you show up. Precisely because of this we must stay vigilant and ensure that the professional intimacy is not abused. I hope we are in a pivotal moment where a sisterhood — and brotherhood of allies — is being formed in our industry. I hope we can form a community where a woman can speak up about abuse and not suffer another abuse by not being believed and instead being ridiculed. That’s why we don’t speak up — for fear of suffering twice, and for fear of being labeled and characterized by our moment of powerlessness. Though we may have endured powerlessness at the hands of Harvey Weinstein, by speaking up, speaking out and speaking together, we regain that power. And we hopefully ensure that this kind of rampant predatory behavior as an accepted feature of our industry dies here and now. Now that we are speaking, let us never shut up about this kind of thing. I speak up to make certain that this is not the kind of misconduct that deserves a second chance. I speak up to contribute to the end of the conspiracy of silence.”
Lupita Nyong’o