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…

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“Almodóvar–the first name is almost unnecessary–is a genius, is a flower, is a guiding light: the last, best son of Buñuel and so much more than that. His screenplays, which he directs with passion and fine care, have taught us about the exteriors of his native land and the interiors of our own hearts. From the early, manic experimental Super-8 work to the breakthrough Women on the Verge of a Nervous Breakdown, his titles are as evocative as most people’s screenplays. Yet for all their antic energy, Almodóvar’s films are deeply spiritual: watching his disturbing, mysterious, heart-rending Talk to Her is to understand, perhaps for the first time, the full meaning of grace. An Almodóvar screenplay is a running leap off a Gaudi balcony, it flips, soars, ascends, careens, tumbles, falls – always landing, astonishingly and astonished, on its feet.”
~ Howard A. Rodman, Announcing Almodóvar’s Jean Renoir Award

“I got a feeling I am going to win in the long run, but I want to be part of the zeitgeist, too. I want to support young girls who are in their 20s now and tell them: You’re not just imagining things. It’s tough. Everything that a guy says once, you have to say five times. Girls now are also faced with different problems. I’ve been guilty of one thing: After being the only girl in bands for 10 years, I learned—the hard way—that if I was going to get my ideas through, I was going to have to pretend that they—men—had the ideas. I became really good at this and I don’t even notice it myself. I don’t really have an ego. I’m not that bothered. I just want the whole thing to be good. And I’m not saying one bad thing about the guys who were with me in the bands, because they’re all amazing and creative, and they’re doing incredible things now. But I come from a generation where that was the only way to get things done. So I have to play stupid and just do everything with five times the amount of energy, and then it will come through.”
~ Björk to Jessica Hopper at Pitchfork