Sundance Originals

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 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 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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Sundance Reviews: The Wolfpack, Slow West

Unique ironies surround Crystal Moselle’s bewildering documentary, The Wolfpack, not the least of which is that the film opens with a group of brothers at home re-enacting Reservoir Dogs, a film that premiered at Sundance 23 years ago.

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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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Sundance 2014 Last Call

As a documentarian, Balmès shows more than tells; his work tends to curate moments that strike him as meaningful into a largely abstract tapestry and let you make of them what you will. Consequently, Happiness is not a neatly delineated picture of narrative storytelling, nor is it quite traditionally structured documentary. True to form, the director’s work here tends toward the languid and fluid; we float gently along the placid life rhythm of this small village on a faraway mountaintop as the camera captures the subtle – and sometimes not so subtle – shifts in the cultural and social landscape wrought by the march of technological progress.

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Sundance 2014 Review: The Better Angels

A film created to be seen on a big screen, where the gorgeous cinematography can fill your soul. Dialogue is sparse, used only to augment the narration and visuals, with the result that in many ways feels almost like watching a silent film with narration over it. Or perhaps, to be more accurate, it’s like immersing yourself into a black-and-white landscape of stunning beauty, where there happens to be this story happening around you. Edwards’ time spent as a cameraman on Malick’s films is evident here in the framing of shots, the extensive use of nature in storytelling, and his willingness to let his tale breathe in quiet spaces.

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Sundance 2014 Review: Listen Up Philip

Here’s a truism about men like Philip: smart women who tell themselves they would never put up with his particular brand of bullshit no matter what nonetheless can and do fall prey to the allure of the reclusive, temperamental, misunderstood genius, and will keep coming back for more. Men like Philip present a challenge to overcome, a puzzle to solve – until the women in their lives finally have enough and say “no more.” And then those men end up alone, feeling misused and mistreated, looking everywhere save within themselves for the answer to the riddle of their loneliness and isolation.

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Sundance 2014 Review: What We Do In The Shadows

This is one of the festival’s most pleasant surprises because it’s gotten to the point where certain horror tropes are dead or dying: recent zombie movies have been more shambling than exciting; vampires in general have become anemic and fangless (shout-out to the Twilight series, driving nails into the rhetorical coffin).

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Sundance 2014 Review: War Story

The death of Lee’s friend has perhaps made her see the wages of war as a price higher than she ever thought she’d pay to be in the thick of it. She’s captured so many losses, so many tragedies, through the lens of her camera, but she has no idea how to capture and cope with her own. The film’s final moments elegantly underscore the truth about the death of those we love and how we grieve the impact of losing them: It hurts, it will always hurt, when you lose someone you love, and even more so when you feel yourself responsible. But life moves on, wars continue to happen, the world spins around its axis just like it did before you lost this person you cared about.

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Picturing Sundance 2014: 21 Images

Sleep is good. Seeing movies is better. Writing solid, thoughtful reviews instead of instant reactions longer than a well-wrought tweet: even better. A few quick descriptions and some more glimpses of 10 days at Sundance.

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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