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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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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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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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Sundance Review: Doc Wrap-Up

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MCN Videos

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Brian Tyree Henry, If Beale St Could Talk, Widows, Spider-Man Into The Spiderverse, Atlanta

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Willem Dafoe, At Eternity’s Gate

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DP/30 Audio Only: Brian Tyree Henry, December 2018

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Leave No Trace, Debra Granik

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

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“I remember very much the iconography and the images and the statues in church were very emotional for me. Just the power of that, and even still — just seeing prayer card, what that image can evoke. I have a lot of friends that are involved in the esoteric, and I know some girls in New York that are also into the supernatural. I don’t feel that I have that gift. But I am leaning towards mysticism… Maybe men are more practical, maybe they don’t give into that as much… And then also, they don’t convene in the same way that women do. But I don’t know, I am not a man, I don’t want to speak for men. For me, I tend to gravitate towards people who are open to those kinds of things. And the idea for my film, White Echo, I guess stemmed from that — I find that the girls in New York are more credible. What is it about the way that they communicate their ideas with the supernatural that I find more credible? And that is where it began. All the characters are also based on friends of mine. I worked with Refinery29 on that film, and found that they really invest in you which is so rare in this industry.”
Chloë Sevigny

“The word I have fallen in love with lately is ‘Hellenic.’ Greek in its mythology. So while everyone is skewing towards the YouTube generation, here we are making two-and-a-half-hour movies and trying to buck the system. It’s become clear to me that we are never going to be a perfect fit with Hollywood; we will always be the renegade Texans running around trying to stir the pot. Really it’s not provocation for the sake of being provocative, but trying to make something that people fall in love with and has staying power. I think people are going to remember Dragged Across Concrete and these other movies decades from now. I do not believe that they will remember some of the stuff that big Hollywood has put out in the last couple of years. You’ve got to look at the independent space to find the movies that have been really special recently. Even though I don’t share the same world-view as some of my colleagues, I certainly respect the hell out of their movies which are way more fascinating than the stuff coming out of the studio system.”
~ Dallas Sonnier