By Ray Pride Pride@moviecitynews.com

2013 Sundance Film Festival Adds Four Feature Films, Including El Mariachi as ‘From the Collection’ Screening

For Immediate Release

December 13, 2012

Park City, UT — Sundance Institute today announced the addition of four films to the 2013 Sundance Film Festival, including Magic Magic (Director: Sebastián Silva), Muscle Shoals (Director: Greg ‘Freddy’ Camalier) and Wrong Cops (Director: Quentin Dupieux) as well as El Mariachi (1993) for the From the Collection screening. The 2013 Festival will be January 17-27 in Park City, Salt Lake City, Ogden and Sundance, Utah.

John Cooper, Director of the Sundance Film Festival, said, “With the addition of these four films, the 2013 Sundance Film Festival will present an even more well rounded program of independent films. Each adds to the Festival in exciting, challenging and entertaining ways.”

About the From the Collection screening, John Nein, Senior Programmer for the Sundance Film Festival, said, “Among the offerings the Festival provides audiences is the opportunity to explore the legacy of independent film, side by side with new work. El Mariachi has become an iconic independent film and it continues to inform and inspire independent filmmakers and audiences alike – making it a fitting selection for our From the Collection screening.”

El Mariachi is part of The Sundance Collection at UCLA (The Collection), a film preservation program established in 1997. The Collection is specifically devoted to the preservation of independent documentaries, narratives and short films supported by Sundance Institute and has grown to nearly 1000 titles, including recent additions such as Paris is Burning, Working Girls, Crumb, Margarita Happy Hour, Groove, Mad Bastards, Better This World, The Oath, Hero and Rate It X. Titles are generously donated by individual filmmakers and nine founding donors: Fine Line Features, Gramercy Pictures, Miramax, New Line Cinema, October Films, Sony Pictures Classics, Strand Releasing, Zeitgeist Films and Trimark Pictures.

With the addition of these four films, the 2013 Sundance Film Festival will present 119 feature-length films, representing 32 countries and 51 first-time filmmakers, including 27 in competition. These films were selected from 12,146 submissions (429 more than for 2012), including 4,044 feature-length films and 8,102 short films. Of the feature film submissions, 2,070 were from the U.S. and 1,974 were international. 103 feature films at the Festival will be world premieres.

PARK CITY AT MIDNIGHT

Magic Magic / U.S.A., Chile (Director and screenwriter: Sebastián Silva) — An American girl vacationing in remote Chile mentally unravels, putting herself and those around her in danger. Cast: Michael Cera, Juno Temple, Emily Browning, Catalina Sandino Moreno, Augustín Silva. World Premiere

DOCUMENTARY PREMIERES

Muscle Shoals / U.S.A. (Director: Greg ‘Freddy’ Camalier) — Down in Alabama Rick Hall founded FAME Studios and gave birth to the Muscle Shoals sound. Mick Jagger, Keith Richards, Gregg Allman, Aretha Franklin, Etta James, Alicia Keys, Bono and others bear witness to the greatest untold American music story. World Premiere

NEW FRONTIER (Film)

Wrong Cops / U.S.A. (Director and screenwriter: Quentin Dupieux) — Imagine a Los Angeles where crime is so low that a bored cop sells drugs and harasses a teenager to pass the time. Shot in standalone chapters, as it is being financed, screened and released, watch the 45 minutes of crazy. Cast: Mark Burnham, Marilyn Manson, Steve Little, Eric Wareheim.

FROM THE COLLECTION

El Mariachi / U.S.A. (Director: Robert Rodriguez, Screenwriters: Carlos Gallardo, Robert Rodriguez) — A mariachi musician arrives in a Mexican border town at the same time as a hit man. Each carries a guitar case, but the mariachi’s contains his beloved instrument, while the hit man’s is full of gadgets and weapons. Cast: Carlos Gallardo, Consuelo Gomez, Jaime De Hoyos, Peter Marquardt, Reinol Martinez.

El Mariachi premiered at the 1993 Sundance Film Festival. A newly struck preservation print of El Mariachi, created by Sony Pictures Entertainment to commemorate the film’s 20th anniversary, will screen on Saturday, January 19 at the Egyptian Theatre in Park City. Director Robert Rodriguez is expected to introduce the film and participate in the Q&A.

 

The Sundance Film Festival®

A program of the non-profit Sundance Institute®, the Festival has introduced global audiences to some of the most ground-breaking films of the past two decades, including sex, lies, and videotape, Maria Full of Grace, The Cove, Hedwig and the Angry Inch, An Inconvenient Truth, Precious, Trouble the Water, and Napoleon Dynamite, and through its New Frontier initiative, has showcased the cinematic works of media artists including Isaac Julien, Doug Aitken, Pierre Huyghe, Jennifer Steinkamp, and Matthew Barney. The 2013 Sundance Film Festival® sponsors include: Presenting Sponsors – HP, Acura, Sundance Channel and Chase Sapphire PreferredSM; Leadership Sponsors – DIRECTV, Entertainment Weekly, FOCUS FORWARD, a partnership between GE and CINELAN, Southwest Airlines, Sprint and YouTube; Sustaining Sponsors – Adobe, Canada Goose, Canon U.S.A., Inc., CÎROC Ultra Premium Vodka, FilterForGood®, a partnership between Brita® and Nalgene®, Hilton HHonors and Waldorf Astoria Hotels & Resorts, Intel Corporation, L’Oréal Paris, Recycled Paper Greetings, Stella Artois® and Time Warner Inc. Sundance Institute recognizes critical support from the Utah Governor’s Office of Economic Development, and the State of Utah as Festival Host State. The support of these organizations will defray costs associated with the 10-day Festival and the nonprofit Sundance Institute’s year-round programs for independent film and theatre artists. www.sundance.org/festival

Sundance Institute

Founded by Robert Redford in 1981, Sundance Institute is a global, nonprofit cultural organization dedicated to nurturing artistic expression in film and theater, and to supporting intercultural dialogue between artists and audiences. The Institute promotes independent storytelling to unite, inform and inspire, regardless of geo-political, social, religious or cultural differences. Internationally recognized for its annual Sundance Film Festival and its artistic development programs for directors, screenwriters, producers, film composers, playwrights and theatre artists, Sundance Institute has nurtured such projects as Born into Brothels, Trouble the Water, Beasts of the Southern Wild, Amreeka, An Inconvenient Truth, Spring Awakening, Light in the Piazza and Angels in America.

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Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé