10 Days of Sundance

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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Sundance Announces 2016 Juries

SUNDANCE INSTITUTE ANNOUNCES JURY MEMBERS FOR 2016 SUNDANCE FILM FESTIVAL TAIKA WAITITI TO HOST LIVE-STREAMED AWARDS CEREMONY ON J Park City, UT — Sundance Institute has summoned 23 film, theatre, culture and science experts for jury duty to award 27 prizes at the 2016 Sundance Film Festival,January 21-31 in Park City, Salt Lake City, Ogden…

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Sundance Seen Part 1

The whispering of powder from a dull quiet sky. Snowflakes fall between the screenings. Then the sun is bright and powder dusts off the slopes.

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Six Films To Watch At Sundance

Attending Sundance this year means personally jumping through a lot of difficult hoops to make it happen, but this festival is becoming legendary—2014’s iteration eclipsed both Cannes and TIFF combined—and I simply couldn’t skip this year.

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Picturing Sundance 2014 x 13 (Plus 140-Character Grasps For Instantaneous Truth)

If you go to parties, you miss movies. If you go to movie after movie after movie, you don’t have time to write, let alone think. But! Thank the Movie Godz for Twitter and for photographs.

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Sundance 2014 Review: Boyhood

A little after 1 AM on Monday, January 20, 2014, in a 1,296-seat high school auditorium in Park City, Utah, a piece of cinema history was made: the lights came up on the world premiere of Richard Linklater’s Boyhood, a film in production for more than a decade.

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Sundance 2014 Reviews: Overnighters, Whiplash

Even in these scenes of heartwarming fraternity, there’s always this nagging feeling that Reinke’s generosity is perhaps misguided and downright bizarre, as if there’s something unhealthy or otherwise unspoken that drives his desire to help these men.

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Pre-Sundance, Dargis Sez It’s Time To Stem The Flood Of “Spendies”

“It’s hard to see how American independent cinema can sustain itself if it continues to focus on consumption rather than curation. There are, bluntly, too many lackluster, forgettable and just plain bad movies pouring into theaters, distracting the entertainment media and, more important, overwhelming the audience.” Pre-Sundance, Dargis Sez It’s Time To Stem The Flood…

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14 Must-See Films at Sundance ‘14

What sounds good?

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Sundance Review: Prince Avalanche

There is humor here, but of the gentle, nudging, self-aware kind more than broad slapstick, save for one scene toward the end that injects a quick dose of mostly painless comic relief. But mostly there is an excavation of character going on here, as Alvin sorts and sifts through his own understanding of who he is and his place in the world. A letter for Alvin forces him to reassess his own life and understanding of himself and his relationship, causing him to dig, as it were, through his own ashes in search of the answers to where he’s veered off track in his own life.

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Wrapping Up Sundance, Pt 1: The Not-Docs

Sundance is still easily the most important film festival in the world for American independents. It is pretty well run. They have pretty good taste. And even the swag shite that journalists love to mock as they try to figure out how to snag a pair of jeans that will make their ass look like J-Lo’s and their chests look like either Scarlett Johansson or Taylor Whomever is not nearly as rampant as it once was.

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Sundance Reviews: Cutie and the Boxer, Fallen City

There is vividness of color here, and contrast between the pair’s struggles in the real world and the way in which they express themselves artistically. Like all artists, including no doubt many of the filmmakers with films at Sundance, for Ushio and Noriko the financial struggles of an artist being able to survive while still creating are a constant source of tension, but there’s never a time when either of them says, well, we’re not getting rich of this, so we should give it up and get a steady job to pay the bills. They fight and they struggle, but the art and being able to keep creating it remains at the forefront of their relationship through it all.

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2013 Sundance Film Festival Awards

For Immediate Release January 26, 2013 2013 SUNDANCE FILM FESTIVAL ANNOUNCES FEATURE FILM AWARD. Blood Brother, Fruitvale, A River Changes Course and Jiseul Earn Grand Jury Prizes Audience Favorites Include Blood Brother, Fruitvale, The Square (Al Midan), Metro Manila and This is Martin Bonner Park City, UT — Sundance Institute this evening announced the Jury,…

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Sundance Review: Pussy Riot: A Punk Prayer

The performance footage is most engaging, when we see the girls of Pussy Riot rehearsing and performing; it’s guerrilla activism, shot guerrilla style, and it’s just great that it was even captured for historical purposes, given that the Pussy Riot collective has become a big enough deal to be of note as one of the more relevant and effective activist groups of our time, along with Occupy. Interviews with the girls’ parents round things out nicely, giving us a broader perspective on who these young women are.

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Sundance Review: Upstream Color

The patterns of nature and mathematics – and the breaking of those patterns which in turn make new patterns – are heavily threaded throughout the structure of this film, and the complexity of the ideas it explores and the way in which it inevitably requires the audience to actively participate in seeking to understand it is very much like a cinematic Socratic Circle. Socrates taught that all thinking derives from asking questions; the aim therefore is not to arrive at one right answer, but that asking one question should lead to further questions, and from this collective back-and-forth we construct meaning and answers.

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Sundance Review: Blood Brother

Perhaps it was some deeper spiritual call, a desire to strip away the typically materialistic Western values with which he’d been raised, to find the purity in a life of giving to others rather than taking from them. Or perhaps Rocky simply found in the children of that orphanage the closeness of family and unconditional love that he lacked at home. Whatever the case, he also found he didn’t want to leave. These kids needed him, and perhaps he needed them as well.

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Sundance Review: Escape from Tomorrow

A pair of flirtatious young French girls catches Jim’s eye, and soon he’s following them around the park, dragging his young son along with him for the ride, and getting increasingly shameless in revealing his lust as the film progresses. How much of the girls’ flirtation is real and how much is Jim’s delusion is left to you to judge, though given the rest of what’s happening here, I think it’s maybe a little of both; regardless, it’s a lot creepy, this middle-aged man trolling after a pair of young girls, but it also makes a statement of sorts about sexual fantasy and objectification that one doesn’t expect to overtly find in a film about Disney anything.

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Sundance Review: We Are What We Are

There are some terrific performances in this film, most notably from Childers and Garner, who move seamlessly from wide-eyed naivete to fierce protectiveness. And man, is this a gorgeous, well-put together film, with frame after carefully composed frame of black and blue color palette sumptuously filling the screen, light and shadow effectively evoking mood, some nicely literary use of metaphor, and a score that moves things along without being heavy-handed or manipulative. The contrast of the beauty with which the film is shot and its macabre subject matter creates its own sort of tension that quite effectively serves the story.

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Sundance Review: Kill Your Darlings

Radcliffe flawlessly takes Ginsberg on his journey from naïve middle-class Jersey boy to awakening young writer, from an emerging poet inspired by the casting aside of tradition and structure of Walt Whitman to the early stages of manic creative energy that shaped the influential writer he would grow to become. It’s terrific to see Radcliffe making such smart choices in his post-Harry Potter career, establishing himself as a young actor who’s pushing himself and stretching far beyond what anyone might have imagined.

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Sundance Review: When I Walk

As part of coming to terms with the new and ever-shifting “normal” that would be the rest of his life, DaSilva followed his instinct, picked up his camera, and turned it on himself. This project could have devolved into the maudlin and self-absorbed; instead DaSilva’s strength and resilience, his determination to stay positive – bolstered in part by his relentlessly positive mother, who’s prone to calling him out on any over-privileged American kid whining and reminding him constantly that we only have one life to live, and have to make the most of it – is what shines through every frame of his story.

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Quote Unquotesee all »

“One of my favorite things in watching any performance on film is when there isn’t a lot of cutting going on and when you get a chance to become really absorbed in the artist in hand. The same way we do, hopefully, at a concert, when we get a chance to really trip in to something that’s happening on stage. Whether the singer’s singing, or one of the other musicians is playing, we sort of stay there instead of cutting round with our eyes a lot.”
~ Jonathan Demme

“We’ve talked about this before in the past, my obsession with the Shakespearean histories having the ideal combination of the sweet and the sour. In ‘Henry IV, Part II’ which we’ve discussed before, in the end of that story it’s very complex and haunting because Prince Hal becomes Henry the King, and he has transcended his hoodlum days and at the ceremony is Falstaff, his good friend with whom he has really fucked around and been a loser with, and Falstaff comes up to him and says, ‘Now that you’re king we can really party,’ and the king famously says, ‘I know thee not, old man.’ It becomes Henry IV’s anointment and Falstaff’s catastrophe. That’s life. I have experienced very little unfettered triumph. There are moments, such as when my children are born, but even that comes with new fears and anxieties. In a sense the better you can communicate that life is both at once, the more powerful over time something becomes. One strives for something where the threads are there because it lasts in way that is very palpable. The idea of a tragedy is powerful in literature and theater, but in cinema it doesn’t work, certainly not commercially, and less so critically. Why is that? I think it has to do with how movies are so close to us.”
~ James Gray