MCN Videos

Sundance 2014 Last Call

Happiness

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

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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

Image courtesy of The Sundance Institute.

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

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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

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

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Sundance 2014 Review: Imperial Dreams

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

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Sundance 2014 Review: Obvious Child

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Sundance 2014 Review: Boyhood

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Sundance 2014 Review: I Origins

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Sundance 2014 Review: Hellion

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Sundance 2014 Reviews: Overnighters, Whiplash

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14 Must-See Films at Sundance ‘14

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Sundance Review: Ain’t Them Bodies Saints

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MCN Festivals

“F— it. Give me a Stella and a vodka and I will double-fist for the rest of the night.”
Waldo Salt Screenwriting Award-Winner Lake Bell On Needing To Breathe Through Her Butt More

“Embarrassing because it’s almost too tender to watch, so tender that it feels private, so private that continuing to look should get you slapped with a restraining order.”
Wesley Morris‘ Sundance Survey

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“The effect of the avalanche, and Tomas’ refusal to acknowledge his terror, seem to have devastating effects. But the interesting thing about Force Majeure is the sly suggestion that maybe this event could have a liberating effect on the family.”
~ Robert Horton 

 “Teaching how to make a film is like trying to teach someone how to fuck. You can’t. You have to fuck to learn how to fuck. It’s just how it is. The filmmaker has to protect the adventurous side of their self. I’m an explorer, I’m an inventor. Doc Brown is the character I relate to the most and he’s a madman. He’s a madman alone, locked up with his ideas but he does whatever he wants. He makes what he makes because he wants to make it. Yes, the DeLorean has to work in order for him to be a madman with a purpose—the DeLorean should work—but the point is I think everyone should try and find their own DeLorean. When Zemeckis was trying to get Back To The Future made, which he was for seven years, he was trying to get a film made where basically a teenager gets in a time machine, goes back to 1954 and almost —-s his mother. That pitch is extremely subversive and twisted in a way. My point is, he had a fascinating idea that no one had done before, but was clearly special to him and he stuck to it and made it what it was. When you do that you can create culture, but I think a lot of movies are just echoing culture and there’s a difference.”
~ A Girl Walks Home Alone At Night Filmmaker Ana Lily Amirpour