By Ray Pride Pride@moviecitynews.com

Sundance Institute Announces National Screenings for 2013 Sundance Film Festival New Frontier Project, Coral: Rekindling Venus

For Immediate Release
January 7, 2013

Albuquerque, NM | Anchorage, AK | Arlington, TX | Baltimore, MD | Bradenton, FL | Chicago, IL | Hilo, HI | Honolulu, HI | Houston, TX | Killeen, TX | New York, NY | Park City, UT | Portsmouth, OH | Salt Lake City, UT | Washington, DC

Park City, UT — Sundance Institute today announced that Coral: Rekindling Venus, a full-dome film and augmented reality presentation featured in the 2013 edition of New Frontier at the Sundance Film Festival, will screen at 14 full-dome planetariums throughout the United States during the Festival, January 17-27. Created and directed by Australian media artist Lynette Wallworth, Coral: Rekindling Venus is an immersive film experience that takes viewers underwater through the mysterious realm of fluorescent coral reefs in Australia, Papua New Guinea and Indonesia.

In addition to multiple daily screenings in a specially designed dome at the New Frontier exhibition in Park City, Utah, the 45-minute film will also screen January 19th, 22nd and 26th at Salt Lake City’s Clark Planetarium. Between January 19-26 a 22-minute version of the work will screen in the following cities: Albuquerque, NM; Anchorage, AK; Arlington, TX; Baltimore, MD; Bradenton, FL; Chicago, IL; Hilo, HI; Honolulu, HI; Houston, TX; Killeen, TX; New York, NY;; Portsmouth, OH; and Washington, DC. Select planetariums will feature a live Skype post-screening Q&A with director Lynette Wallworth.

Wallworth’s visually stunning Coral: Rekindling Venus is designed to immerse viewers in the complex world of rare marine life with the hope of creating an emotional connection between a global audience and the planet’s endangered coral reefs. This epic project features original deep-sea photography from Emmy Award-winning cinematographer David Hannan, and music by Antony and the Johnsons, renowned Australian Indigenous artist Gurumul and German composer Max Richter. An augmented-reality companion artwork, Rekindling Venus: In Plain Sight will also be featured, allowing audiences to explore deep sea coral reefs around the world through their smartphones.

Wallworth said, “My intent with Coral: Rekindling Venus is to leave the audience with a sense of wonder for the complexity and beauty of coral reefs and a stronger understanding of our connection to it. In that vein, this tour is built on community, reaching audiences where they live, and with their friends and neighbors as fellow participants.”

The Festival’s New Frontier section showcases films, media installations, multimedia performances, trans-media experiences and panel discussions that explore the convergence of film, art, new media technology and storytelling. Coral is the first full-dome work to be featured in New Frontier, and the planetarium and full-dome tour is also a first for the Festival.

Shari Frilot, Senior Programmer for the Sundance Film Festival and Curator of the New Frontier exhibition, said, “The scope and ambition of Lynette Wallworth’s Coral: Rekindling Venus is an example of just how powerful the convergence of art world imagination, cinematic storytelling and new media technology, can be, which is the focus of our New Frontier initiative. With Coral, audiences across the country will be able to engage in and contribute to a dialogue around the endangered coral reefs as well as the value of expanding cinema culture beyond the traditional movie theater.”

Coral producer John Maynard of Felix Media adds, “Lynette’s work, beyond its beauty and visionary scope has created a benchmark in full-dome work and is quickly enlivening the market with the potential of new content. Inclusion in the prestigious Sundance Film Festival New Frontier exhibition will help Coral find wider audiences and help to spread support for our endangered coral reefs”.

Tickets for the Park City and Salt Lake City screenings will be available through the Festival Box Office: http://www.sundance.org/tickets Tickets for screenings outside of Utahwill be available through each planetarium.

Albuquerque, NM: New Mexico Museum of Natural History http://www.lodestar.unm.edu

Anchorage, AK: Planetarium & Visualization Theatre, University of Alaska, Anchorage http://www.uaf.edu/museum/education/planetarium

Arlington, TX:  Arlington Planetarium, University of Texas http://www.uta.edu/planetarium/

Baltimore, MD: Maryland Science Center – Davis Planetarium http://www.mdsci.org/planetarium/index.html

Bradenton, FL: Bishop Planetarium, South Florida Museum http://www.southfloridamuseum.org/ThePlanetarium

Chicago IL: Adler Planetarium http://www.adlerplaanterium.org/

Honolulu, HI: Bishop Museum http://www.bishopmuseum.org/exhibits/planetarium/planetarium.html

Houston, TX: Burke Baker Planetarium http://www.hmns.org/

Hilo, HI: Imiloa Astronomy Centre http://www.imiloahawaii.org

Killeen, TX: Mayborn Planetarium and Space Theatre, Central Texas College http://www.starsatnight.org/

New York, NY: Hayden Planetarium www.haydenplanetarium.org

Portsmouth, OH: Clark Planetarium, Shawnee State University http://planetarium.shawnee.edu

Salt Lake City, UT: Sheila M. Clark Planetarium, Hansen Dome Theater for information: http://clarkplanetarium.org;  for tickets: http://www.sundance.org/tickets

Washington, DC: Albert Einstein Planetarium Smithsonian Institute http://airandspace.si.edu/visit/theaters/planetarium/

Over the past five months Coral: Rekindling Venus has screened in 24 cities across six continents and been featured in five major festivals including the London Cultural Olympiad and the World Science Festival in New York. For more information please visit www.coralrekindlingvenus.com.

 

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, includingsex, 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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One Response to “Sundance Institute Announces National Screenings for 2013 Sundance Film Festival New Frontier Project, Coral: Rekindling Venus”

  1. Scott OBrien says:

    This is a brilliant feast for the eyes and the mind. Be sure to experience it!

Quote Unquotesee all »

This is probably going to sound petty, but Martin Scorsese insisting that critics see his film in theaters even though it’s going straight to Netflix and then not screening it in most American cities was a watershed moment for me in this theatrical versus streaming debate.

I completely respect when a filmmaker insists that their movie is meant to be seen in the theater, but the thing is, you got to actually make it possible to see it in the theater. Some movies may be too small for that, and that’s totally OK.

When your movie is largely financed by a streaming service and is going to appear on that streaming service instantly, I don’t really see the point of pretending that it’s a theatrical film. It just seems like we are needlessly indulging some kind of personal fantasy.

I don’t think that making a feature film length production that is going to go straight to a video platform is some sort of “step down.“ I really don’t. Theatrical exhibition as we know it is dying off anyway, for a variety of reasons.

I should clarify myself because this thread is already being misconstrued — I’m talking about how the movie is screened in advance. If it’s going straight to Netflix, why the ritual of demanding people see it in the theater?

There used to be a category that everyone recognized called “TV movie” or “made for television movie” and even though a lot of filmmakers considered that déclassé, it seems to me that probably 90% of feature films fit that description now.

Atlantis has mostly sunk into the ocean, only a few tower spires remain above the waterline, and I’m increasingly at peace with that, because it seems to be what the industry and much of the audience wants. We live in an age of convenience and information control.

Only a very elite group of filmmakers is still allowed to make movies “for theaters“ and actually have them seen and judged that way on a wide scale. Even platform releasing seems to be somewhat endangered. It can’t be fought. It has to be accepted.

9. Addendum: I’ve been informed that it wasn’t Scorsese who requested that the Bob Dylan documentary only be screened for critics in theaters, but a Netflix representative indicated the opposite to me, so I just don’t know what to believe.

It’s actually OK if your film is not eligible for an Oscar — we have a thing called the Emmys. A lot of this anxiety is just a holdover from the days when television was considered culturally inferior to theatrical feature films. Everybody needs to just get over it.

In another 10 to 20 years they’re probably going to merge the Emmys in the Oscars into one program anyway, maybe they’ll call it the Contentys.

“One of the fun things about seeing the new Quentin Tarantino film three months early in Cannes (did I mention this?) is that I know exactly why it’s going to make some people furious, and thus I have time to steel myself for the takes.

Back in July 2017, when it was revealed that Tarantino’s next project was connected to the Manson Family murders, it was condemned in some quarters as an insulting and exploitative stunt. We usually require at least a fig-leaf of compassion for the victims in true-crime adaptations, and even Tarantino partisans like myself – I don’t think he’s made a bad film yet – found ourselves wondering how he might square his more outré stylistic impulses with the depiction of a real mass murder in which five people and one unborn child lost their lives.

After all, it’s one thing to slice off with gusto a fictional policeman’s ear; it’s quite another to linger over the gory details of a massacre that took place within living memory, and which still carries a dread historical significance.

In her essay The White Album, Joan Didion wrote: “Many people I know in Los Angeles believe that the Sixties ended abruptly on August 9, 1969, ended at the exact moment when word of the murders on Cielo Drive traveled like brushfire through the community, and in a sense this is true.”

Early in Once Upon a Time in Hollywood, as Leonardo DiCaprio and Brad Pitt’s characters drive up the hill towards Leo’s bachelor pad, the camera cranes up gently to reveal a street sign: Cielo Drive. Tarantino understands how charged that name is; he can hear the Molotov cocktails clinking as he shoulders the crate.

As you may have read in the reviews from Cannes, much of the film is taken up with following DiCaprio and Pitt’s characters – a fading TV actor and his long-serving stunt double – as they amusingly go about their lives in Los Angeles, while Margot Robbie’s Sharon Tate is a relatively minor presence. But the spectre of the murders is just over the horizon, and when the night of the 9th finally arrives, you feel the mood in the cinema shift.

No spoilers whatsoever about what transpires on screen. But in the audience, as it became clear how Tarantino was going to handle this extraordinarily loaded moment, the room soured and split, like a pan of cream left too long on the hob. I craned in, amazed, but felt the person beside me recoil in either dismay or disgust.

Two weeks on, I’m convinced that the scene is the boldest and most graphically violent of Tarantino’s career – I had to shield my eyes at one point, found myself involuntarily groaning “oh no” at another – and a dead cert for the most controversial. People will be outraged by it, and with good reason. But in a strange and brilliant way, it takes Didion’s death-of-the-Sixties observation and pushes it through a hellfire-hot catharsis.

Hollywood summoned up this horror, the film seems to be saying, and now it’s Hollywood’s turn to exorcise it. I can’t wait until the release in August, when we can finally talk about why.

~ Robbie Collin