Festivals

Sundance 2019

[PR] Park City, UT — The nonprofit Sundance Institute announced today the showcase of new independent feature films selected across all categories for the 2019 Sundance Film Festival. The Festival hosts screenings in Park City, Salt Lake City and at Sundance Mountain Resort, from January 24 – February 3, 2019. The Festival is the Institute’s…

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Sundance: New Frontier Round-up

If you’re going to sell me that you have a six-player “epic ‘80s fantasy” experience featuring female warriors, man, I want some interactivity with that that goes beyond white-labeling last year’s cat cannon functionality reworked to shoot lasers out of my arms, and I want some story and character development that makes the female warriors feel actually incepted out of story and a hero’s journey, with enough substance wrapped around the experience to give me a connection to my character and the other avatars and to care why we are there.

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The Daily Buzz from Sundance (Day 10)

We have a special episode today, in which we begin by meeting and discussing filmmaking opportunities for women with Iyabo Boyd and Senain Kheshgi. We then moved on to discuss the film Last Race with director Michael Dweck. We finish by speaking with part of the hilarious and talented team behind the episodic Halfway There, including director Rick Rosenthal, writer Nick Morton, and actors Matthew Lillard and Sara Shahi.

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The Daily Buzz from Sundance (Day 9)

Ever had a project that you were super-passionate about but didn’t know how to fund? Elise McCave of Kickstarter discusses how to crowdfund for your passion projects. Heather Lenz talks about directing Kusama, and we talk about Game Changers with Louie Psihoyos, Joseph Pace and James Wilks. We end with the team behind Science Fair, Cristina Costantini, Darren Foster, Kashfia, Robbi, and Dr. McCalla.

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The Daily Buzz from Sundance (Day 8)

We cover Roll with Me, Zion and Nancy as well as talk to AAPI directors about their films. We start with two diverse AAPI directors, Bing Liu and Cecilia Hsu, then discuss Roll with Me with Lisa Frances, Jorja Fox and Gabriel Cordell. We also speak with Floyd Russ, director of Zion, and one of that short film’s producers. Director Christina Choe joins us for her psychological drama Nancy.

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The Daily Buzz from Sundance (Day 7)

Today we have Chloe Zhao, director of The Rider,  on planning a film with budget restrictions. Co-directors of Genesis 2.0, Christian Frei and Maxim Arbugaev, talk about filming in the heart of Siberia. And we welcome female shorts directors, Anna Margaret Hollyman, of Maude, and Emily Anne Hoffman, of Nevada.

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The Daily Buzz from Sundance (Day 6)

Our Hot Topics Roundtable features Sean Means, longtime movie critic at the Salt Lake Tribune and Maria Smith, executive creative director of M&C Saatchi LA. We’re joined by Slamdance co-founder Dan Mirvish, also director of Slamdance closing-night film Bernard and Huey, from a long-neglected Jules Feiffer script. Director Charlie Bims and actress Julie Sokolowski joins us to talk about their Slamdance feature Human Affairs.

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The Daily Buzz from Sundance (Day 5)

Today’s episode starts with a hot-topics roundtable discussion with Joshua Rothkopf, Jim Brunzell And Andrew Fish. Our second panel covers Akicita: The Battle for Standing Rock, with documentarians Gingger Shankar and Cody Lucich, as well as a figure who was onsite at Standing Rock. We conclude with Quiet Heroes‘ Jared Ruga and Amanda Stoddard.

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The Daily Buzz from Sundance (Day 4)

Day Four offers great insight for listeners furthering film careers. We speak with Carrie Lozano and Simon Kilmurry of the International Documentary Association. Pascal Plante, director of Fake Tattoos drops by, as well as the director and cast of Funny Story, Michael Gallagher, Matthew Glave, Jana Wintimitz and Emily Bett Rickards.

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The Daily Buzz from Sundance (Day 3)

Day Three ranges across film genres and guests. We start off with the Russo brothers who are here at the Sundance film festival to receive the Founders Award from Slamdance, along with Peter Baxter from Slamdance. We move on to speak with Rainbow Experiment director Christina Kallas and Isaiah Blake, a part of the cast. Closing the podcast: the We the Animals feature team.

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The Daily Buzz from Sundance (Day 2)

Day Two of Sundance 2018 is filled with snow! Today’s episode starts with Salt Lake’s City Weekly’s Scott Renshaw, a juror for Slamdance film competitions. Anote Tong and Matthieu Rytz of Anote’s Ark discuss the literal sinking of the island of Kiribati and raising awareness around climate change. We end with the moving feature ilm White Rabbit with director Daryl Wein, and cast Vivian Bang and Nana Ghana.

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The Daily Buzz Podcast from Sundance

It’s officially Day One of Sundance 2018, and the first episode for The Daily Buzz is packed with amazing films. This episode begins with a heartwarming tribute to the late Irene Cho, the founder of Daily Buzz; moves on to a fascinating account of the lives and training of service dogs in Pick of the Litter, made by Dana Nachman and Don Hardy; and ends with a packed panel with Nick Offerman, Kersey Clemons and Brett Haley for Hearts Beat Loud.

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Sundance Sets Juries

Sundance Film Festival: Juries, Awards Night Host Announced 24 Jurors to Award NUMBER Prizes, Including New NEXT Innovator’s Award Los Angeles, CA — Sundance Institute will convene 24 experts in film, art, culture and science to award feature-length work shown at the 2018 Sundance Film Festival with 28 prizes, announced at a ceremony January 27 that will be…

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Confessions of a Film Festival Junkie: Shape of Water, The Florida Project

I was in line for a French film when it was cancelled and this was its replacement. A fellow queuer said, it’s the new Sean Baker, and people love it. I’d seen Baker’s earlier MTV series “Greg the Bunny” and his L.A.-by-iPhone Tangerine but they didn’t prepare me for this: a documentary-like view of poor people who inhabit a residential motel in Orlando, only a few miles from Disney World.

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Cannes Review: KILLING OF A SACRED DEER

Humanity is exactly what’s on the chopping block in a Yorgos Lanthimos film.

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Cannes Reviews: REDOUBTABLE, 120 BPM

Beyond outlining just how much of an asshole Hazanavicius’ Godard is—including a stupid running joke that seems to suggest the man derives his snobbish power from his sunglasses, which he repeatedly breaks throughout the film—Redoubtable is little more than a series of regrettable decisions that began the moment Hazanavicius started his adaptation.

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Cannes Review: THE SQUARE

The Square is an equilateral triangle—a film with three sharp, pointed edges and a very long ending that’s too rigid for it to turn a corner and assume its final shape. But as the follow-up to a film about the social contract, as well and the bystander effect, Östlund has made something hilarious, frustrating and very clever.

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Cannes Reviews: Okja, Jupiter’s Moon

The yelling started as soon as Okja’s Netflix presentation card appeared, muddying the matter more. This attitude fuels the ongoing debate on the Croisette: Can Netflix films win Palmes d’Or? Should they? The argument being Cannes is a festival where cinema is sacred—that films should be seen on big screens, not on small ones

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Here’s The 2017 Sundance Film Guid

Here’s The 2017 Sundance Film Guide 47-page pdf And – The Printable Schedule

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Sundance 2017 Sets Premieres, Doc Premieres, Midnight

Sundance Institute announces the lineup for Premieres, Documentary Premieres, Midnight, Spotlight, Kids and Special Events. The Festival hosts screenings in Park City, Salt Lake City and at Sundance Mountain Resort January 19-29. Three projects announced today are part of The New Climate, the Festival’s new environmental program: Rancher, Farmer, Fisherman(Documentary Premieres), Look & See: A…

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Quote Unquotesee all »

“When books become a thing, they can no longer be fine.

“Literary people get mad at Knausgård the same way they get mad at Jonathan Franzen, a writer who, if I’m being honest, might be fine. I’m rarely honest about Jonathan Franzen. He’s an extremely annoying manI have only read bits and pieces of his novels, and while I’ve stopped reading many novels even though they were pretty good or great, I have always stopped reading Jonathan Franzen’s novels because I thought they were aggressively boring and dumb and smug. But why do I think this? I didn’t read him when he was a new interesting writer who wrote a couple of weird books and then hit it big with ‘The Corrections,’ a moment in which I might have picked him up with curiosity and read with an open mind; I only noticed him once, after David Foster Wallace had died, he became the heir apparent for the Great American Novelist position, once he had had that thing with Oprah and started giving interviews in which he said all manner of dumb shit; I only noticed him well after I had been told he was An Important Writer.

“So I can’t and shouldn’t pretend that I am unmoved by the lazily-satisfied gentle arrogance he projects or when he is given license to project it by the has-the-whole-world-gone-crazy development of him being constantly crowned and re-crowned as Is He The Great American Writer. What I really object to is this, and if there’s anything to his writing beyond it, I can’t see it and can’t be bothered. Others read him and tell me he’s actually a good writer—people whose critical instincts I have learned to respect—so I feel sure that he’s probably a perfectly fine, that his books are fine, and that probably even his stupid goddamned bird essays are probably also fine.

“But it’s too late. He has become a thing; he can’t be fine.”
~ Aaron Bady

“You know how in postproduction you are supposed to color-correct the picture so everything is smooth and even? Jean-Luc wants the opposite. He wants the rupture. Color and then black and white, or different intensities of color. Or how in this film, sometimes you see the ratio of the frame change after the image begins. That happens when he records from his TV onto his old DVCAM analog machine, which is so old we can’t even find parts when it needs to be repaired. The TV takes time to recognize and adjust to the format on the DVD or the Blu-ray. Whether it’s 1:33 or 1:85. And one of the TVs he uses is slower than the other. He wants to keep all that. I could correct it, but he doesn’t want me to. See, here’s an image from War and Peace. He did the overlays of color—red, white, and blue—using an old analog video effects machine. That’s why you have the blur. When I tried to redo it in digital, I couldn’t. The edges were too sharp. And why the image jitters—I don’t know how he did that. Playing with the cable maybe. Handmade. He wants to see that. It’s a gift from his old machine.”
~ Fabrice Aragno