Sundance Film Festival | Blog

Kick It: “Aatsinki - The Story of Arctic Cowboys”

Jessica Oreck — 2012-05-02T17:30:55+00:00

Jessica Oreck is a filmmaker whose work focuses on issues of ethnobiology. Her first feature, "Beetle Queen Conquers Tokyo" was released in the US and UK in 2009. Her short film "Venus" played the Sundance Film Festival in 2011.

We have 9 days left on Kickstarter and $20,000 to go. We also have some crazy great rewards and an amazing film that we want to get out to audiences like you. This little piece was written to give you a sense of how personal the project is and how it got started – but now the film is in your hands, and it can only be finished with your help. Your help, your friend’s help, your mom’s help. Make a pledge, spread the word, and help us reach our goal!

I love old Westerns. The character of the cowboy is infinitely appealing to me. I love the idea of a man alone in a great expanse of space, in tune with the weather and the needs of his animals. He knows the stars and the landscape almost innately. He is separate from the driving rush of civilization, his time exists for daylight and moonlight. He doesn’t have a Blackberry.

I wanted to find that type of man (or woman!) – a modern cowboy.

When my parents moved to Helsinki, I spent about three weeks traveling around the north of Finland, searching for the manifestation of this idealized concept of the modern cowboy, but I was consistently disappointed.

Knowing that I was getting frustrated, my mom, helpful as always, said something along the lines of, “Well, there’s this really nice man down at the farmer’s market who sells reindeer meat, I’m sure he knows a family of herders you could get in touch with…”

I was skeptical, but I did end up meeting “the nice man from the farmer’s market,” Jari Etelälahti, in April 2010. Before I could even open my mouth, he said, “I know just the family. You’ll love them. I’ll meet you in Rovaniemi in two weeks.”

Two weeks and plenty of indecision later, I meet Jari in the parking lot of a hotel in Rovaniemi, the largest town in Lapland, more than thirteen hours from Helsinki by train. We get into his car, almost total strangers. A few hours later we arrive at the house of a man named Hannu. Hannu says something in Finnish. The three of us climb into his car and continue north.

An hour later we are in the middle of the woods. We switch to snowmobiles. An hour later we are at a tiny cabin even deeper in the woods. There is no electricity and no running water. Hannu lights a fire. I shiver.

And then I hear the sound of a snowmobile approaching. Moments later, Aarne Aatsinki saunters in. The three men sip coffee and speak Finnish. Without a word of explanation, I am loaded onto the back of Aarne’s snowmobile. I don’t know where to put my hands. His snowmobile is obviously for hard riding, not carrying tourists. I wrap my arms around him in the most polite way I can figure.

We zip across frozen lakes, up mountainsides, take in vistas. We reach a giant fence, seemingly in the middle of nowhere. “Russia,” Aarne says, pointing to the other side. Later in our ride, we are stopped by some border guards who greet Aarne and skeptically study my papers.

More mountains, more vistas. And then, without warning, Aarne stands up quickly, leaving me dangling on the back of his snowmobile with nothing to hold onto. I hear Aarne say quietly, “O-ho” and then we are falling down an incredibly steep, though thankfully short, cliff. We land and Aarne turns off the snowmobile. I dismount ungracefully, shaking. He laughs at me, but in a protective way, while he checks his engine.

As I stand there, trembling, something catches Aarne’s eye and he hikes a short distance up the cliff. He waves me over, points to a track in the snow, and follows the trail to a tiny opening I hadn’t even noticed. Producing a flashlight from within his thick clothing, he peers into a cave and says to me, “Ahma.” I nod, mystified.

It starts to snow. Thickly. Aarne turns his snowmobile and we meet up with Jari and Hannu at a nearby hut. Aarne lights a fire and someone fills a kettle with water. In a few minutes we are all drinking coffee. Jari explains to me that, on our way off the cliff, we must have startled a wolverine (one of my first Finnish words: ahma) leaving his lair. In Finland, wolverines are highly protected animals and it is illegal even track them. Jari expresses his concern for Aarne should the border guards see his footprints.

I ask Jari how long we’ll be here. Jari ask Aarne. Aarne pulls open the door a few inches, looks into the blank, white sky and shrugs his answer in Finnish. “Two hours,” Jari translates. Two hours later, nearly to the minute, the snow stops, the sky clears, and I am back on Aarne’s snowmobile, Jari and Hannu behind us.

Aarne stops several times simply to listen. It always sounds silent to me, but at one point he turns off the path and we crest a hill. Dozens of reindeer are spread out below us – my first sighting of the animals in the wild.

Aarne eventually takes me back to the tiny cabin where we met and shakes my hand goodbye. I tell him I will return in September to meet his family and follow them for a year. He seems to think this is a good idea, and smiles – though I am pretty sure he had no idea what he was getting himself into...

Community Outreach at the Festival

Megan Leiker — 2012-02-15T19:53:38+00:00

Each year, Sundance Institute and the Sundance Film Festival make a concerted effort to emphasize the value of the Utah community. We'd like to thank them for welcoming us during the 10 days of the Festival and for being such wonderful hosts. Our appreciation is expressed through a variety of programs, including High School Screenings at the Festival, Filmmakers in the Classroom, Community Screenings, and distribution of complimentary tickets to non-profit organizations across the Wasatch Front. Just under 14,000 locals were able to participate in the 2012 Festival through our community programs.

Victoria Bruce (We're Not Broke) talking to high school students at Filmmakers in the Classroom. Photo by Jonathan Hickerson

It's not every day that you get the chance to share in the excitement with a filmmaker as he announces his nomination for an Academy Award, but that was the case as Philippe Falardeau introduced his film Monsieur Lazhar to local audiences at one of the Sundance Film Festival's Townie Tuesday screenings on January 23, 2012. Townie Tuesday is a must-do local's community screening and an opportunity for the Institute to thank the local community for hosting the 2012 Sundance Film Festival.

Philippe Falardeau during the Townie Tuesday Q&A. Photo by Clayton Chase.

This year the first Townie Tuesday screening commenced at the Redstone Theatre with the short film Fungus, directed by Charlotta Miller, followed by Lynn Shelton's Your Sister's Sister. Both directors were excited to be at the special screening because they were delayed getting to the Festival due to bad weather in Seattle. Charlotta was especially excited because the weather delays caused her to miss the premiere of her film. Townie Tuesday was her first chance to observe the audience's reaction to her film and answer their questions during the Q&A.

Local Audience at Best of Fest Salt Lake City. Photo by Clayton Chase

Best of Fest is another free community event available the day after the conclusion of the Festival. The program is comprised of two or three screenings of award winning films in all four cities that host screenings during the Festival: Ogden, Sundance, Salt Lake City, and Park City. Some audiences at this year's Best of Fest screenings had the pleasure of hearing from the filmmakers themselves, despite the Festival having ended. The audience at the Salt Lake City Screening of Chasing Ice was greeted by director Jeff Orlowski and those in attendance for the Park City showing if The Invisible War had the chance to participate in a Q&A with local producers from the film.

It is our hope that everyone who participated in these community events enjoyed themselves and that others have been inspired to participate next year. We want to thank you for helping us host the Sundance Film Festival, and we are especially grateful to our generous Principal Sponsor Zions Bank and local supporters who make these community events possible: the George S. and Dolores Doré Eccles Foundation, Summit County Recreation Arts and Parks program, Salt Lake County Zoo Arts and Parks program, Salt Lake County Economic Development, Salt Lake City Arts Council, Utah Arts Council, and the National Endowment for the Arts.

Sundance Love: Our Valentine’s Day Collection

Nate von Zumwalt, Editorial Coordinator — 2012-02-14T20:26:14+00:00

For many, Valentine’s Day conjures images of couples sprawled across love seats, seductively dropping chocolate truffles into one another’s mouths, all the while gorging on the cinematic bon-bons also known as sentimental romantic comedies. Or maybe that’s just me. And while we can’t rectify all of these Valentine’s Day calamities, we can offer a corrective to the crappy films. Happy Valentine’s Day.

Once
Intended Audience: Old souls and hopeless romantics.

A modern day musical (arguably) for the masses, John Carney’s Once is among the most well-received Festival films of all time. (It was, after all, the 2007 World Cinema Audience Award winner). Charge me with hyperbolic speech now, but thank me after you treat yourself to this Irish love story adorned with soothing melodies and a naturalistic form. Though the two leads are musicians by trade, their on-screen chemistry makes for a pair of poignant performances.

Like Crazy
Intended Audience: Young lovers, and anyone fond of cute English girls.

When you unabashedly brand your debut feature with the title Douchebag, you haven’t exactly primed your fans to anticipate you’ll follow it up with a quintessential romantic drama that happens to take home the Grand Jury Prize, just for kicks. Unless you’re Drake Doremus. Like Crazy invokes gut-wrenching performances from two exceptional young actors in this refreshing take on the suffering inherent to long-distance relationships. For her part, Felicity Jones took home a Special Jury Prize at the 2011 Festival, and Anton Yelchin is anything but a slouch.

Blue Valentine
Intended Audience: Those going through a breakup. Those looking to facilitate a breakup.

The title really says it all. There is nothing charming nor cheerful about Blue Valentine. Derek Cianfrance’s character-driven drama features brilliant performances from Ryan Gosling and Michelle Williams, who play a couple bent on saving their withered relationship. Cianfrance shapes a narrative that shifts seamlessly between diametric stages of a relationship, ultimately portraying the rawest of love stories in a couple’s search for something that may have never existed.

If nothing else, Derek Cianfrance is a genius at minimizing Ryan Gosling to a creepy, needy man hiding behind a bushy mustache and a hideous sweatshirt with a giant eagle decal.

Me and You and Everyone We Know
Intended Audience: Existentialists

Miranda July’s debut feature earned a Special Jury Prize for Originality of Vision at the 2005 Festival, and frankly, its idiosyncratic (dare we say quirky) freshness warrants such a finely tailored award. At its core, Me and You and Everyone We Know is an examination of human connections with a unique and nuanced approach to depicting the challenges we all face in finding love.

500 Days of Summer
Intended Audience: From young to old, single to polygamous, it’s a film for everyone.

It’s a nod to 21^st century urban romance, and a do-it-all film that dismisses the perceived boundaries of romantic dramas. Marc Webb’s 500 Days of Summer casts Sundance vet Joseph Gordon-Levitt and Zooey Deschanel in starkly contrasting -- but equally impressive -- roles. Beautifully structured and dominated by inventive montage sequences, Webb’s feature tracks the 500 days of a couple’s relationship—or more aptly, the period of Gordon-Levitt’s mostly-unrequited love. Be forewarned, Deschanel plays something of a conniving bitch. It’s ok, we still love her.

Sundance Alumni Take the Super Bowl Stage

Nate von Zumwalt, Editorial Coordinator — 2012-02-07T20:44:45+00:00

To many of us at Sundance Institute, the Super Bowl is less about the observance of America’s most grandiose sporting event and more about a well-deserved respite from the 10 frenetic days of the Festival. That said, throw a few Sundance alumni into the mix and watch our ears perk up. This year saw some unlikely pop cultural confluence between Sundance Institute and the Super Bowl, specifically in the form of seven advertisements from six Sundance alumni directors. Check out their Super Bowl spots below.

Todd Phillips (Frat House, Old School, The Hangover)

Taika Waititi (Eagle vs. Shark, Boy)

David Gordon Green (All the Real Girls, Snow Angels, Pineapple Express)

Jake Scott (Welcome to the Rileys)

Miguel Arteta (Cedar Rapids, Youth in Revolt)

Chris Smith (American Movie, Home Movie)

Court Overturns Gay Marriage Ban in California; Revisiting 8: The Mormon Proposition

Zan McQuade — 2012-02-07T20:04:56+00:00

A federal appeals court ruled on Tuesday that the voter-approved ban on same-sex marriage in California is unconstitutional. In light of today's decision, we revisit a documentary most pertinent to the issue of equal marriage rights, particularly the passing of Prop 8 in California. Reed Cowan and Steven Greenstreet's "8: The Mormon Proposition" premiered at the 2010 Sundance Film Festival.

There's something undeniably powerful about documentaries and their ability to deliver a message topical, emotional, political, and personal. And make me weep like you wouldn't believe.

Yesterday I met up with my friend Channing — who happened to be in town for the Festival — to see 8: The Mormon Proposition. Channing has roots here in Utah, and was eager to see this film in particular. We waited together in the snaking ticket line to enter the Racquet Club Theater. Other people in the line were already discussing the topics addressed by the film: separation of church and state, civil unions, the meaning of marriage. The crowd already seemed to be largely on the side of the filmmakers, but as director Reed Cowan mentioned in his introduction once we were inside, he's not immature enough to think that the entire audience agreed with him. Producer Steven Greenstreet made a statement as well, and was overcome with emotion before the film had even begun. I figured right about then that I was in for a bit of an emotional rollercoaster.

Hoo, boy. They started early, the tears. I handed Channing a napkin from the coffee concession stand outside the theater and kept two for myself. Throughout the movie, you could hear the sobs echoing from different corners of the cinema. This film, or its message at least, certainly had an affect on so many who were there.

At the Q&A, the directors echoed what they'd said in their introduction: "every life has a story, every story has a lesson." They had mentioned before the film that they welcomed the disbelievers and wanted us to be united in dialogue, and that taking part in the dialogue is what's most essential. A questioner asked what legal options we have to reverse what's happened in California and Maine. San Francisco Mayor Gavin Newsom — who was present in support of the film — was invited to the mic to address this question. He said that like a good politician, instead of answering the question directly, he would instead borrow the words of Dr. Martin Luther King, Jr.: "the arc of the universe is long, but it bends back towards justice."

I said goodbye to Channing, who was as shaken as I was, and left the theater weak from trying to stifle my own emotion. I was unsure of how I could process what I'd just seen into words. Rather than try to turn the emotions into more words than I can handle in one little blog post, I'll just say this: the emotional impact of these films is measurable and immense, if my wobbly knees and multiple trips out of the office to have a good cry in the snow are evidence enough.

Photo by Zan McQuade

The Sundance Film Festival Through the Lens of Terence Nance

Sundance Institute — 2012-02-06T23:36:31+00:00

Filmmaker and musician Terence Nance premiered his debut feature, An Oversimplification of Beauty, in the New Frontier section of the 2012 Sundance Film Festival and performed as Terence Etc. at Day 1 of Sundance ASCAP Music Café. The Dallas born, Brooklyn-based artist chronicled his journey with actresses Namik Minter and Chanelle Pearson from the editing room in New York to the snowy hills of Park City:

The Celebrated Drive Composer Offers his Sonic Assessment of the 2012 Dramatic Competition

Cliff Martinez — 2012-01-30T19:57:40+00:00

Captain's log: Sundance 2012

The first time I attended the Sundance Film Festival was in 1989, when I was the composer for sex, lies and videotape. Sundance was the ground floor from which the film went on to garner worldwide acclaim; and for all of us involved it was like driving a rocket ship. Even back then, Sundance was a feeding frenzy for independent film enthusiasts; and getting into popular screenings, parties and events took some serious determination.

I've been here several times since SLV. But this year, for the first time, I'm attending as a U.S. Dramatic Juror. And I must say that the experience has been upper crust all the way. I get to attend all the buzz worthy screenings. I have a personal chauffeur and an ever increasing pile of gourmet swag accumulating in my room. I get to hang out with the festival organizers from time to time and my fellow jurors, who are actors, writers, cinematographers, editors and directors -- all the people that I seldom come in contact with in the solitary endeavor of composing music. It's been the closest thing to having my own personal Beatlemania since my days in the Red Hot Chili Peppers.

As a juror, any discussion of the films in my category is disallowed until the final awards ceremony. However, I think I can toss out a few observations on some of the music I've heard thus far.

The hybrid song/score, combo-platter seems to be in vogue this year. And for that, the weapon of choice is clearly solo acoustic guitar accompanied by a vocalist. This appears to be predominantly licensed songs and where that doesn't work, an original score piece in a complimentary instrumental style is created. The approach is characteristic for films in what seems to be an emerging genre that me and my fellow jurors affectionately refer to as WPP or "White People Problems." I don't mean this in a derogatory sense as some of the films in this category are exceptional. They have a generally comic tone with heart and emotion, graphic sexual situations with humorous overtones and are populated with 20 to 30 somethings who are either lost, bored, breaking up with their significant other, can't make up their mind who to sleep with and so on….you know WPP.

Some of these hybrid scores however, are a seamless blend between pre-fab and original music and in that regard, are very different from the song/score soundtracks of the past where songs and underscore typically didn't acknowledge one another stylistically. One great example of that in this festival was Middle of Nowhere -- not of the WPP genre but actually a serious urban drama whose score was an effective and imaginative take on what I can only describe as abstracted R & B.

Another urban contemporary gangster film whose score caught my attention was LUV. Portuguese composer Nuno Malo's elegant, beat-free orchestral score was laced with ambient electric guitars and created a memorable one-of-a-kind musical universe for a film that defied convention by sidestepping the expected hip-hop driven soundtrack.

My Festival favorite in the score department is Beasts of the Southern Wild. Set in the Louisiana delta, the score acknowledges the local cajun culture with the use of fiddle, accordion and banjo as soloists set against the backdrop of a traditional orchestral palette. Director Behn Zeitlin (who also co-composed the score!) described the music as "nationalistic." I would go with "anthemic." The score is distinctive, memorable, broadly emotional and because, I suspect that the director also wrote the music, there are those rare extended scenes where the music is given a chance to take center stage and carry the story without the help of dialog or effects.

What I love about this Festival is that it encourages independent filmmakers to develop their own unique voice, to find new ways to create something fresh and unexpected. And I can hear that mindset trickle down to many of the composers who are their accomplices in developing that voice.

Bradley Cooper, Jeremy Irons and Dennis Quaid Collaborated to Create The Words

Jeffrey Hansen — 2012-01-30T18:16:44+00:00

Those who wanted to see Brian Klugman and Lee Sternthal’s directorial debut, The Words, had to wait until closing night of the Sundance Film Festival for its world premiere. That seemed only fitting, however, as both directors openly admitted at Friday’s screening that the film took nearly 12 years to make and waiting anxiously a few extra days “felt like par for the course.”

Led by a strong cast that included Bradley Cooper, Jeremy Irons, Dennis Quaid, and Zoe Saldana, The Words tells the story of Rory Jansen (Cooper), a budding novelist who struggles with his sudden propulsion to literary stardom, brought about by a yellowed manuscript he finds in a beat-up satchel in a Parisian antique shop. With the pressures of a new wife (Saldana) and a dogged determination to work his way up and out of a publishing company mailroom, Jansen decides to call the work his own, and immediately struggles with the soul-sucking realization of what he has done, especially after meeting the elderly man (Irons) whose work he plagiarized.

The story of this one writer (or two, maybe three…it’s sometimes hard to tell) makes us examine the choices we make and the unexpected impact those decisions have not only on our own lives, but also on those closest to us.

After the film’s premiere, Klugman and Sternthal were joined by Cooper, Quaid, Saldana, Ben Barnes, along with other crewmembers for a Q&A.

Q: Combinations of directors and writers where both people share both jobs are unusual. How do you guys work together?

Sternthal: Every day is different. There’s a mystery and magic to it. I don’t like to talk bout it because I’m just really lucky to have that with Brian.

Q: When you write about a writer who writes about a writer, it’s natural to wonder if the writer is writing about himself.

Klugman: Any time you take pen to paper we have our own subjective experiences and lives to draw from. I think every character is drawn in some parts from you. That’s really one of the big themes going on here, I think.

Q: The film took a long time to make. What advice can you give to other filmmakers who are struggling to get their work finished?

Klugman: The best advice I can give is to hang in there. It comes together with the right timing and with the right people. I don’t think we were ready to make the film that we made 12 years ago. It happened when it was right.

Q: Why do you writers have such a fascination with Paris?

Sternthal: It’s such a beautiful city. It’s such an historic setting in literature. Even going back to the 19^th century, it’s just so full of romance. I think Americans grab onto that because you don’t have as much of it here.

Q: How did you arrive to these actors after such a long process and how did Bradley become involved as an executive producer?

Cooper: I’ve been a part of the project since almost its inception. So being cast, I think it was a nice gesture on (the directors’) part because I was already so invested in it.

Klugman: All I can say about the casting process was that we had very limited resources and very little time to make this movie. Had we had unlimited resources and unlimited time, we still would have cast every single person the same. We got the actors that we wanted to play these roles. We went after them and we could not believe when they started saying yes. And consistently saying yes! There are so many wonderful performances to work with here, so we really wound up with a dream cast.

Look Here for Live Awards Updates

Eric Hynes and Claiborne Smith — 2012-01-28T23:27:53+00:00

Hi everyone, and welcome to the live blog for the 2012 Sundance Film Festival Awards Ceremony. We’re Eric Hynes and Claiborne Smith, and we’ll be your tag-team virtual hosts for tonight’s festivities.

For the second year in a row, the Awards Ceremony takes place few miles north of Park City at the Basin Recreation Fieldhouse at Kimball Junction. The football field sized space has been split into two halves: a party lounge with bar tables, stools, and buffet tables; and a ceremonial half with folding chairs facing a stage comprised of giant building blocks decorated in this year’s Festival’s colors of yellow, black and white, and signs heralding this year’s theme, Look Again.

At the Festival’s opening day press conference, Festival Director John Cooper spoke of how Hollywood and indie films are moving father and father apart, stylistically. As more Transformers populate megaplex screens, the range and diversity of stories emerging from indie filmmakers—on full view for the past 10 days of the Festival—becomes richer. The state of independent film is “very healthy, it’s creative, it’s original,” Cooper said. “I think the stories are as diverse as they can be. They’re personal and I think they’re a unique perspective on the world we live in.” He talked about how every year people ask him what the themes of the Festival are, but “the truth is, they’re aren’t any. Independent film is the theme.”

All told, 27 awards will be given out over the next 60 minutes, so prepare yourselves for a flurry of activity on this blog. And start familiarizing yourselves with the filmmakers and titles you’re about to hear. Something tells us that you’ll be talking about them in the months and years to come.

Updated 7:21 PM:

The evening kicks off with a “Voice of God” introducing the Festival Director, John Cooper (we don’t think it was actually God - just the voice of God). Cooper looks chagrinned. “We had this whole bit where [Parker Posey] was ready to come out as the Queen of indie film to the music from Aida,” Cooper said. Posey was supposed to be the evening’s emcee tonight, but she fell ill. Sad handlers are holding her queen garb, one of whom is even wearing her crown. Cooper wishes her well; so does the audience.

Cooper introduces the Executive Director of Sundance Institute, Keri Putnam. She encourages everyone to get involved with the Institute beyond these 10 days of the Festival. “We’re active 365 days a year and all over the world discovering and supporting new independent artists—so please visit us online, come see some of our public programs, and really be part of our community.”

Putnam presents the second annual winners of the Sundance Institute/Mahindra Global Filmmaking award, which were announced earlier in the week, to:

Shonali Bose, Margarita With a Straw (India); Etienne Kallos, Free State (South Africa); Ariel Kleiman, Partisan (Australia); Dominga Sotomayor, Late to Die Young (Chile)

Cooper’s back on stage, thanking the Festival staff and 1850 Festival volunteers, giving special mention to those volunteers who’ve worked more than 100 hours during the Festival: “The 100 Club.” The indie film community took a hit this week - with the death of beloved indie film producer Bingham Ray. Cooper gets a little choked up reading from an appreciation of him written by a friend of his, a poker partner - Ray was described as “a fierce competitor and raconteur,” someone who started out at the Bleeker Street Cinema. He was “intimately involved with some of the figures he used to protect” and “as with everything else, he had no problem challenging them when he thought they were wrong.” Cooper thanks this year’s filmmakers for sharing “your stories and your souls” with audiences at the 2012 Festival.

Cooper confesses he’s had a dream - a dream of a co-host. He introduces director and actor Katie Aselton, whose thriller Black Rock played in the Midnight section at this year’s Festival. Aselton is helping Cooper host tonight’s awards ceremony. They tell everyone they’re thanking God right now so that all the filmmakers who will be on stage tonight to accept awards can make their thank you’s brief. Brief!

Cooper then introduces renowned biological anthropologist Helen Fisher to present the Alfred P. Sloan Feature Film Prize, which is presented to a director with an outstanding film focusing on science or technology as a theme; it comes with a cash award of $20,000.

For the first time, the prize goes to two films: Robot & Frank and Valley of Saints, each of whose directors received $10,000 at a reception on Friday.

Updated 7:32 PM:

Cooper and Aselton return to the stage and introduces natty, argyle-sweater wearing Trevor Groth, director of programming for the Sundance Film Festival. He announces the winners of the Shorts Program, presented by Yahoo!, which were presented earlier in the week. Jurors included Shane Smith of TIFF Bell Lightbox, King of the Hill creator Mike Judge, and Pariah director Dee Rees, a big winner at last year’s Festival.

Groth also announces the first annual Shorts Audience Award. Holly Boyer from Yahoo! joins Groth on stage. Audiences across the nation have been voting on the winner of the Shorts Audience Award. And the award goes to ... The Debutante Hunters, directed by Maria White. White tells the audience that she and her husband volunteered for the Festival 10 years ago, so to end up winning is something very special for her. “We had thousands of thousands of people see our film that we never expected to see it,” she says.

Coming up next, the winners of the World Cinema Competition Documentary Competition.

Updated 7:47 PM:

John Cooper and Katie Aselton introduce the jurors for the World Cinema Documentary Competition: Clara Kim, curator of the Walker Art Center, filmmaker Jean-Marie Teno, and BBC Storyville founder Nick Fraser. Twelve internationally produced films, from Canada and Denmark to China and Palestine, competed in this section this year. “We saw some incredible films, and have the distinct pleasure of giving 5 prizes for this category,” says Kim. The first prizewinner is about, “A man whose humble and rich existence reminds us of the integrity of life.”

Winner of the World Cinema Documentary Special Jury Prize for its Celebration of the Artistic Spirit:
Searching for Sugar Man, directed by Malik Bendjelloul (Sweden/UK)

“Is this really happening? This was supposed to be six minutes for Swedish TV,” says Bendjelloul. He introduces subject Rodriguez, who stands from his seat and receives rich applause. Read our coverage of Sugar Man’s world premiere.

Teno introduces the next award winner. “Many filmmakers have been taking the camera and making films. Cinematography is very, very important - it rises to the level of artwork. Sometimes you leave a film and for a long time, some images from the film you have just seen flash in your mind. In a state of propaganda and people in this kind of oppressive regime are behaving.”

Winner of the World Cinema Cinematography Award for Documentary Filmmaking:
Putin’s Kiss, cinematography by Lars Skree (Denmaerk)

Director Lise Birk Pedersen accepts for Skree.

Kim presents the next winner, “A seamless journey into independently minded individuals.”

Winner of the World Cinema Documentary Editing Award:
Indie Game: The Movie, edited by Lisanne Pajot and James Swirsky. (Canada)

“Two years ago we hopped into a Toyota without cruise control, and never imagined that we’d be here, ” say the filmmakers.

Winner of the World Cinema Documentary Directing Award:
5 Broken Cameras, directed by Emad Burnat and Guy Davidi (Palestine/Israel/France)

“I can’t believe I’m standing here,” says Burnat. “This film was a gift from the beginning. It was a gift for me to go to this village building where I spent many years.”

Regarding the next prize: “A great film, a tough film, and unforgiving film,” says Fraser. “Apparently intelligent men, acting in what they think is their best interest, turn the rule of law into an oppressive system. The jury loved this film - we hope it goes out into the world and changes people.”

Winner of the World Cinema Grand Jury Prize in Documentary:
The Law in These Parts (Shilton Ha Chok), directed by Ra’anan Alexandrowicz (Israel)

“This is the hardest film I’ve made,” says Alexandrowicz. He thanks the doc program at Sundance Institute. “This is an amazing moment for me as a filmmaker, but it’s a film about a painful and unresolved subject. What you find out in the film, and in other films in this festival, is that upholding law doesn’t always lead to justice. It can even be used as a tool against certain segments of society. We have to oppose them, and if necessary we have to break them.”

Updated 7:57 PM:

Cooper introduces the jury for the World Cinema Dramatic Competition: New York Film Festival director Richard Pena, filmmaker Alexei Popogrebsky, and actress Julia Ormond. Fourteen films from countries such as Japan, Argentina, Turkey, and the Czech Republic competed in this section this year.

Winner of the World Cinema Dramatic Special Jury Prize for Artistic Vision:
Can, directed by Rasit Celikezer (Turkey)

“What can I say? This is a story. This is long days; this is a great story, Sundance,” says Celikezer. “Thank you, so much. I dedicated my film to all kids and now I'm dedicating this award to my little daughter and all other kids. Thank you so much.”

Winner of the World Cinema Cinematography Award, Dramatic:
My Brother the Devil, cinematography by David Raedeker (UK)

“I went on a journey with this film, and it was a rollercoaster,” says Raedeker.

Winner of the World Cinema Screenwriting Award, Dramatic:
Young & Wild, written by Marialy Rivas, Camila Gutierrez, Pedro Peirano (Chile)

“Do you want to cry? Me too. We grew up in a country during the dictatorship,” says Rivas. “Since I was seven I wanted to be a filmmaker to escape that violent reality. Every film is an act of love.”

Winner of the World Cinema Directing Award, Dramatic:
Teddy Bear, directed by Mads Matthiesen (Denmark)

“That’s great, man. Great surprise. Just want to thank Sundance. It’s a pleasure coming here. Everything around this Festival, the audiences, is great,” says Matthiesen. Claiborne Smith talked to Matthiesen for Sundance.org.

For a film that Ormond calls, “an extraordinary hymn”:

Winner of the World Cinema Grand Jury Prize, Dramatic:
Violeta Went to Heaven (Violeta se Fue a Los Cielos), directed by Andres Wood (Chile/Argentina/Brazil/Spain)

Wood can’t be in attendance, but sends an acceptance speech remotely, which Ormond delivers. “We are delighted and surprised we wish we were there tonight to celebrate with you. We want to think the people of the festival, jury and audience. We accept it on behalf of the Chilean community.”

Coming up next, the Audience Awards.

Updated 8:11 PM:

Cooper introduces Tim Heidecker, known to viewers of Adult Swim, where his subversive shows like "Tom Goes to the Mayor" and "Tim and Eric, Awesome Show, Great Job," have aired. Heidecker presents the Best of NEXT Audience Award (the 2012 Festival is the fourth year for the NEXT showcase, which features films by often new filmmakers of bold, pure storytelling).

“I was hoping we could do something right now,” says Heidecker. “Would everybody mind standing up for one second, please? Okay, you can sit down. Thank you very much. Do we have any walk outs? I usually get some walk outs.” He prompts the NEXT films to scroll across the screen, but the video appears to malfunction. “Those were all terrible films,” he jokes. “Well, who the hell cares.”

Winner of the Best of NEXT Audience Award:
Sleepwalk with Me, directed by comedian and writer Mike Birbiglia

The first thing Birbiglia does is mention Craig Zobel’s Compliance, another NEXT film, which he says is his favorite film in the Festival. “Without guys like Miguel Arteta telling me I could direct when I couldn't,” he says, “I wouldn't be here.” Read Birbiglia’s comments from the Sleepwalk with Me premiere.

Aselton introduces veteran actor and political activist Edward James Olmos, appearing in the 2012 Festival film Filly Brown, who in turn introduces, seemingly off-the-cuff, filmmaker Robert M. Young. “He’s truly the father of independent film in America. He's a giant amongst those of us who are independent filmmakers in this country This man helped create Sundance Institute, and we want to thank you on behalf of the entire industry,” says Olmos.

“I don’t think I deserve to be up here,” Young says. “I was at the first Sundance—I know a number of you here and I'm honored just to be recognized. I’m 87, still going, still making films.” Olmos continues, introducing the Audience Awards.

Winner of the World Cinema Audience Award for Documentary Film:
Searching for Sugar Man, directed by Malik Bendjelloul (Sweden)

Bendjelloul brings up Rodriguez, who’s dressed in trademark black, from dark mane to shiny leather pants. “I’m so excited I can’t catch my breath. He’s the whole hero of my life,” Rodriguez says about Bendjelloul. Read our coverage of Sugar Man’s world premiere.

Winner of the World Cinema Audience Award for Dramatic Film:
Valley of Saints, directed by Musa Syeed (India/U.S.A.).

This is the second win for Valley of Saints - earlier this week, the film received a $10,000 award from the Alfred P. Sloan Foundation for the innovative way the film depicts the scientist at the heart of the film. Producer Nicholas Bruckman accepts. “My only job was to make our awards here,” he says, “and I only just made it.”

Updated 8:19 PM:

Clips from the U.S. Documentary and Dramatic Competition films are shown. Mike Birbiglia, fresh off his recent win for Sleepwalk with Me, presents the U.S. Competition Audience Awards, sponsored by Acura. “Because the first thing you do when you make an independent film is choose your luxury sedan,” Birbiglia says. “Once you do that, you’re pretty much done.”

Winner of the U.S. Documentary Competition Audience Award, presented by Acura:
The Invisible War, directed by Kirby Dick.

“I never thought I’d win an audience award,” Dick says. He dedicates the award to the many soldiers who have been raped within the American military. “This award really is to them (the victims), so this epidemic stops.”

“You are heard, you are appreciated, you are not forgotten, and you are no longer invisible,” says producer Amy Ziering.

Winner of the U.S. Dramatic Competition Audience Award, presented by Acura:
The Surrogate, directed by Ben Lewin.

Standing ovation for Lewin, whose film routinely received standing ovations during the Festival. “A word of advice to independent filmmakers,” says Lewin. “Don’t sleep with the leading lady. Sleep with the producer.” He’s accompanied by his wife, producer Judi Levine. “Love is a journey,” he adds. “That’s it.”

“I think I learned very early that it’s good to sleep with the director,” adds Levine. Read Claiborne Smith’s profile of The Surrogate’s John Hawkes. Coming up next, the winners of the U.S. Documentary and Dramatic competitions.

Updated 8:35 PM:

Aselton come back on stage - it’s time for the awards for the U.S. Documentary and Dramatic competition awards. They introduce Heather Croall, the director of the Sheffield Doc/Fest, one of the best documentary festivals in the world. Two special jury prizes - a rarity.

Winner of the U.S. Documentary Special Jury Prize for Grace Under Pressure:
Love Free or Die, directed by Macky Alston

The film is about what happened after the Episcopal Church in New Hampshire came under fire for electing an openly gay man as its bishop.

Alston’s on stage - 15 years ago, I was here with another film. I remember the first time I didn’t get into Sundance. I remember the bathtub. I remember the raging tantrum - my husband taking my photo in the audience can attest to that. And then the day came when we heard we got into Sundance with this film and I was a bigger mess than before.”

Winner of the U.S. Documentary Special Jury Prize for Spirit of Defiance:
Ai Weiwei: Never Sorry, directed by Alison Klayman

“I think I’m too nervous to say too much,” Klayman says, but she thanks Ai Weiwei and her family and crew. She asks the audience to flip the bird - she takes a photo and plans to send it to Ai Weiwei.

Cliff Martinez, former member of the Red Hot Chili Peppers and film composer for many of Steven Soderbergh's movies, including sex, lies, and videotape and Contagion, presents the “life’s blood of independent cinema,” the Special Jury Prize: Dramatic for independent film producing. The award goes to Smashed producers Andrea Sperling and Jonathan Schwartz. Sperling isn’t in attendance but Schwartz thanks her - “all the credit in my life goes to my wife Jennifer,” he says. He thanks Ry Russo-Young and James Ponsoldt, who we worked with this past year in producing their films. The Special Jury Prize: Dramatic for ensemble acting goes to the cast of The Surrogate. Producer Judi Levine is back on stage - “I have to tell you this was an extraordinary experience. The cast brought everything they could to their characters” - she heaps praise on Helen Hunt, John Hawkes, and William H. Macy. Aselton introduces Tia Lessin, who produced and directed the groundbreaking Trouble the Water, about the aftermath of Hurricane Katrina—that documentary won the Grand Jury Prize at the 2008 Festival and was nominated for an Academy Award.

Winner of the Excellence in Cinematography Award for U.S. Documentary Filmmaking:Chasing Ice, Jeff Orlowski

Orlowski thanks Sundance and his father, who taught him how to do photography, and James Balog, the subject of the film, who taught him “how to be an artist.” Cinematographer Amy Vincent (Hustle & Flow) comes on stage to present the...

Winner of Excellence in Cinematography Award - Dramatic to:
Beasts of the Southern Wild, Ben Richardson

Richardson seems surprised. “Above all, I want to say thank you to Behn Zeitlin. I wish my dad could see this” and to his mom, “who never in my whole life doubted I could do the things I wanted to do.”

Award-winning documentary editor Kim Roberts presents the...

U.S. Documentary Editing Award to:
Detropia, edited by Enat Sidi

Roberts explains that the award is given to Sidi “for trusting in the power of verite ... and in the cadence of poetry.” Filmmaker Heidi Ewing is onstage with her. “I feel very privileged that I get to make films with my friends,” Sidi says. Actor Anthony Mackie comes on stage to give the Waldo Salt Screenwriting Award.

“Sometimes you see a movie without a script and it lets you know how important a screenwriter is,” Mackie says. “Sometimes you see a movie that exemplifies the idea of creative thought.” The winner is Derek Connolly, the screenwriter behind Safety Not Guaranteed. Connolly looks way too young to be getting an award of this stature. “I’m going to keep this brief or my head is going to explode all over the first row,” Connolly says. He thanks the producers and crew.

Cooper and Aselton introduce director Fenton Bailey, who's made many appearances at the Festival over the years, from Party Monster to Becoming Chaz.

Winner of the U.S. Directing Award for Documentary Film:
Lauren Greenfield, director of The Queen of Versailles

“I want to especially thank Jackie Segal and her family for bravely sticking with the story when it changed in unexpected ways,” Greenfield says.

Humpday and Your Sister's Sister director Lynn Shelton is now on stage to announce..

Winner of the U.S. Directing Award for Dramatic Film: Middle of Nowhere, director Ava DuVernay

Shelton explains that the Award goes to DuVernay for providing “a glimpse into the world of those left behind.” DuVernay say she’s “stunned” and “very happy” - she thanks her producers, the crew, her fellow filmmakers, and a cast “led by this brave, generous soul,” Emayatzy Corinealdi - she stresses that it’s important for the film to be seen beyond Park City and for “filmmakers of color to see one another’s films and have them seen.”

It's now time for the Grand Jury Prize in the Documentary category - writer and documentary maker Charles Ferguson's No End in Sight: The American Occupation of Iraq premiered at the 2007 Festival and won a Special Jury Prize that year. Ferguson says the jury wanted to give more awards than they were allowed to - many of the films are about the same thing, “what the hell is happening to the United States.” But one film stood out, he says. “The film made us feel and think about this problem in a new way.”

Winner of the Grand Jury Prize for Documentary:
The House I Live In, directed by Eugene Jarecki

The film is about America’s criminal justice system, and why so many Americans are incarcerated. Jarecki says, “We began a journey many many years ago when someone I love in the audience very much ... she inspired me to be very concerend about social justice and it set me and my team on a journey to find out what’s happening to families like Manny’s” ... “it’s a terrible, tragic little secret” we have in America, he says. The criminal justice system is “tragically immoral,” Jarecki says and we need reform - putting people in jail for nonviolent crime must end, he says. “I thank those men and women who shared their stories with us.”

Updated 8:51 PM:

The last award of the night:

Fast & Furious director Justin Lin is now on stage to present:

The Winner of the Grand Jury Prize - Dramatic
Beasts of the Southern Wild, directed by Benh Zeitlin

“With powerful and raw performances ... this film represents what independent film is all about,” Lin explains. Zeitlin brings some of the film’s cast and crew on stage with him. “I got nothing to say,” says the film’s star, Quvenzhane Wallis. “That's why I told you to talk to the mic.” “We should have a ton of people up here,” Zeitlin says. “We had more freedom to make this film than any first-time director has had in America. I hope this movie is a flag that goes up to tell producers to allow filmmakers to be as wild as they could be to direct a film.” He thanks his family in Louisiana and seems happily overwhelmed. A big group hug is happening on stage.

Cooper and Aselton are back on stage. “I’ve always wanted to be Parker Posey,” Aselton says and the night ends. Thanks to everyone out there for following us throughout the Ceremony - see you next year!

Sundance Institute and NHK Award Scandinavian Writer-Director Jens Assur

Bridgette Bates — 2012-01-28T22:34:20+00:00

Last night, a small group of international cineastes gathered to celebrate the 2012 Sundance/NHK International Filmmaker Award. The intimate dinner helmed by Michelle Satter, director of Sundance Institute’s Feature Film Program, and Alesia Weston, the program’s associate director of international initiatives, was the perfect reunion for Sundance and longtime friends from NHK (the Japan Broadcasting Corporation), who have been teaming up for over 15 years to support filmmakers in the global arena. Asami Tomoko, Kazuko Taguchi, and Morihisa Matsudaira were present on behalf of NHK—along with last year’s award-winners, director-writer Benh Zeitlin and co-writer Lucy Alibar, whose film Beasts of the Southern Wild premiered last week in the Festival’s Dramatic Competition—to toast this year’s winner, Jens Assur for Close Far Away.

Feature Film Program Director Michelle Satter with NHK award winners. Photo by Colby D. Crossland.

The Scandinavian writer-director Assur describes Close Far Away as “a dramatic thriller about people’s behavior in vulnerable situations.” The title stems from the ripple effect caused by these behaviors – how individual actions create a complex web of outcomes both personally and globally. “The goal is to make a film that moves and touches a global audience,” remarked Assur as he thanked Sundance Institute and NHK for their support. The annual award supports a visionary filmmaker not just with funding, but also by closely working with the winner throughout the year to provide creative and strategic support through the development, financing, and production of their film.

Assur will be filming in both Europe and Africa and he is especially grateful to receive support for his international production. He has previously made two short films – The Last Dog in Rwanda shot in Africa and Killing the Chickens to Save the Monkeys (playing at this year’s Festival) shot in Asia – and the filmmaker understands how some of the hardest work of international filming comes in the pre-production stage of readying for the journey. Preparing to start production this spring, Assur looks forward to the opportunity to learn from the experience. “My goal is to develop skills as a writer-director and to understand the producing process,” he added, “If you want to make unique projects, it’s not just about the funding, but how to carry out the project in a new way.”

Benh Zeitlin, Lucy Alibar, and Jens Assur at the NHK dinner. Photo by Colby D. Crossland.

With a background as a photojournalist and a close-knit relationship with DP Marek Wieser, Assur is planning for the visual imagery of the film to be quite intense. Although the look of the film will be a distinguishing factor, he insists that he turned from photography to film because he wanted to work in a medium that is “not about nice pictures, but about stories.” He added, “Film is about images, but with more tools to create story – music, dialogue, set design, architecture,” and he hopes to take full advantage of all such tools to transform his story. “My goal is to always bring an audience on a journey.”

The high quality of the films produced after the support of the Sundance/NHK Award attests to its mission to raise international awareness for groundbreaking new voices. Case and point, just this week Andrey Zvyagintsev’s Elena, which received the Sundance/NHK Award in 2010 and is screening at this Festival, received four Golden Eagles, the Russian Oscars, for Best Picture, Director, Cinematography and Supporting Actress. Needless to say, the international community eagerly awaits Jens Assur’s feature debut.

#Sundance on Instagram: Day Eight

Roger Erik Tinch, Online and Digital Media — 2012-01-28T01:32:55+00:00

Day Eight of #Sundance on Instagram takes you across the country for Sundance Film Festival U.S.A and back to Park City for Joseph Gordon-Levitt's "hitRECord at the Movies".

Don't forget to use #sundance when posting to Instagram so your photo has a chance of making our daily roundup. And also follow us on Instagram at username sundanceinstitute.

David Gray Serenades at Sundance ASCAP Music Café

Claiborne Smith — 2012-01-27T21:45:27+00:00

Although he’s never been tested this way, David Gray could probably keep his audience hooked while singing the text of a John Deere tractor catalog. Gray performed on Thursday at the Sundance ASCAP Music Café on Lower Main Street to a packed house. The Café was more than packed, actually - there were people perched on steps, people pressing against the barriers set up to ensure the fire department wasn’t going to shut down the house. Judging from the beatific expressions on their faces, all those people showed up because Gray has a power to emotionally connect with them, past the noise of life.

David Gray performing at the Sundance ASCAP Music Café. Photo by Calvin Knight

Gray was the last performer on Thursday, following Ingrid Michaelson, who sang from her new album “Human Again,” and other musicians like Natasha Bedingfield and The All-American Rejects who sang this week after being invited by ASCAP.

Gray performed several of his major hits, including “Babylon,” which had the audience more than signing along - it was like a believer’s chant. There was a group of loud people briefly acting up in the back corner and the bartender shushed them. Gray inspires that kind of reverence. He sang “Nemesis,” “Draw the Line,” and an earlier song, “This Year’s Love,” which he said is “for the romantics.” Wistful, sad, honest, and a little raw, Gray’s songs hit people right in the heart, but there’s also something restrained about him, something existential that keeps his work from feeling sentimental. He sang “Morning of My Life,” an early Bee Gees song “before they started doing falsetto,” as Gray put it. He also sang “Snow in Vegas,” a new song that hasn’t been released yet. After about 45 minutes of listening to David Gray, even the Festival volunteer assigned to forbid access to the front of the stage with his stern, authoritative face looked a little emotional.

Gingger Shankar Premieres Himalaya Song

2012-01-27T17:03:25+00:00

The day started with the most inspiring morning at the Women in Film Brunch. There was a sobering speech by Catherine Hardwicke. It was amazing to hear how after Twilight (which made $69 million in its opening weekend) she still couldn't get meetings to direct after that. She couldn't even get a meeting for the film The Fighter.

Producer Catherine Hardwicke.

The president of WIF, Cathy Schulman, and Sundance Institute Executive Director, Keri Putnam, spoke about how women only direct 5% of the films in Hollywood and that number has not changed since 1998! This year, of the feature films and documentaries selected to Sundance, 27% of them were directed by women! What is so exciting is how Sundance and WIF are looking to change those numbers and create much better resources for all of us to draw from.

We also had the world premiere of Himalaya Song today. Dave Liang, Mridu Chandra and I created this multimedia/live performance piece for New Frontiers and the excitement has been building up for us to this day.

Himalaya Song is an experimental film with live narration and music. It was a big lesson for us in how art really does meet technology. New Frontiers' whole theme this year is about the future and technology and there is no way we could have made this project happen without it. For starters, we were able to record musicians from around the world while Dave and I were in LA and NY. On the visual side, we got really stunning footage and photographs from artists that have documented the Himalayas for years. They were so generous in wanting to help with this project and the issues we are covering. We also had the chance to work with some very gifted artists and painters in China, Turkey, London, India. We even had some paintings commissioned for our film by a Leeds born painter, Kamaljeet Ajimal.

We performed it at New Frontiers to a packed house and the audience was so incredibly responsive! To be able to bring a project like this, which deals with such important issues, to a live stage was always a question. So it was exciting when we finally we finally saw that it translated to audiences. We can't wait for the next one at UMOCA!

Mridu Chandra and Gingger Shankar, directors of Himalaya Song.

And now for a few highlights from my trip so far:

-Running into other Sundance Composers Lab Fellows at the Kimball Art Center. Peter Golub (our mentor and head of the Film Music Program at Sundance Institute) always seems to bring us all together!

-Sam Pollard and Mridu arguing at the Directors Brunch about whether Ryan Gosling is hot or handsome.

-Mridu and I learning how to make dumplings from scratch at Jennifer 8 Lee's dumpling party while Dave was just trying to break the frozen ones apart!

-Dave, Sean Hackett (Homecoming), and I getting unusually competitive and aggressive at the basketball arcade game during the Shorts Awards Party at Jupiter Bowling Alley. Once they shut off all the arcade games, it turned into a full fledged game of Horse (which subsequently turned into a game of Pig because there was not a lot of athletic talent in the bunch).

Gingger Shankar is a Sundance Institute Alumni Advisory Board Member and the director of the 2012 New Frontier installation Himalaya Song.

#Sundance on Instagram: Day Seven

Roger Erik Tinch, Online and Digital Media — 2012-01-27T02:12:07+00:00

Day Seven of #Sundance on Instagram includes manic visions of a tin foiled topped Santa, an alien-like sun, and a mustached potato.

Don't forget to use #sundance when posting to Instagram so your photo has a chance of making our daily roundup. And also follow us on Instagram at username sundanceinstitute.

Filmmakers and Composers Tune Into the Creative Process Behind Film Music

Claiborne Smith — 2012-01-26T22:49:50+00:00

BMI, the music company that manages licensing fees for musicians, gathered no fewer than 17 Festival directors and film composers on stage at the BMI Roundtable Discussion: Music and Film, the Creative Process at the Sundance House on Wednesday. Aligning everyone’s schedules so they could participate and disclose some aspects of the director-composer relationship is difficult enough. But getting the many panelists to find the common ground necessary to converse among themselves, is an indication of the love of film the Festival engenders and the collegiality BMI encourages among its musicians.

Compser T. Griffin, BMI Vice President Doreen Ringer-Ross, and Marshall Lewy (California Solo). Photo by Randall Michelson.

BMI vice-president of film/TV relations Doreen Ringer-Ross is a seasoned veteran at moderating the event, which is an annual Festival tradition by now. She started off by asking the panelists how they came to work with one another and what their working relationship is like (most of the directors in attendance had their film composer sitting next to them). Black Rock director and actor Katie Aselton explained that she met Peter Golub, director of Sundance Institute’s Film Music Program, through her husband Mark Duplass and knew that he would be able to handle the challenges of scoring the innovative thriller that hearkens back to the 70s. “I was very specific about what I wanted with this score,” Asleton said. “I wanted it to be reminiscent of '70s thriller scores, but also wanted to put a modern spin on it.

“On one hand, it’s a genre film,” Golub said, “but it’s a different kind of acting and it’s more intelligent than your average genre film,” so his work on the score had to “match the intelligence of the film.” Aselton agreed, adding that she was “following the rules of the genre, but doing it on my terms and we carried that through in the score as well.”

Sundance Institute Film Music Program Director Peter Golub. Photo by Randall Michelson.

Musician Ryan Beveridge and director Aurora Guerrero worked together on Guerrero’s debut feature, Mosquita y Mari, the finely observed story of two teenage Chicanas growing up in one of Los Angeles’ immigrant neighborhoods. The two girls are initially hostile to one another but eventually discover a deep bond. “She didn’t want to hear any of the typical sounds - no Spanish guitars,” Beveridge explained about Guerrero’s direction. “It gave us a chance to create the right sound for this story as opposed to something that sounded clichéd. She also had already chosen a lot of great songs, and the songs captured the neighborhood and the immigrant story while I just got to focus on the relationship between the two girls.”

A director, in other words, doesn’t just need to know how to give insight to the story. A good filmmaker will also make sure to give a film composer the room to creatively contribute to and influence the story. Echoing what many of the other directors said at the panel, Guerrero confessed that she didn’t know the technical language of music, but used the language of emotion to describe how she wanted the score to contribute to the film at particular moments. Guerrero described the process as “giving him a blueprint of what I was feeling and hearing for the film” and letting him take it from there.

Sundance Institute/Mahindra Global Filmmaking Awards Recognize Emerging

Claiborne Smith — 2012-01-26T01:10:30+00:00

Mahindra is a $14.4 billion multinational company from India that employs over one million people worldwide. Because of a partnership with Sundance Institute, it is now the happy agent of change for deserving filmmakers across the globe who want to see their artistic visions realized.

At an event at the Sundance House on Tuesday, Sundance Institute and Mahindra announced the winners of the 2012 Sundance Institute/Mahindra Global Filmmaking Award, in recognition and support of emerging independent filmmakers from around the world. The winning directors and projects are: Etienne Kallos, Vrystaat (Free State), from South Africa; Ariel Kleiman, Partisan, from Australia; Dominga Sotomayor, Late to Die Young, from Chile; and Shonali Bose, Margarita with a Straw, from India. The filmmakers will each receive a cash award of $10,000, attendance at the Festival for targeted industry and creative meetings, year-round mentoring from Institute staff and creative advisors, participation in a Feature Film Program Lab, and ongoing creative and strategic support. “This is an award that has great import for the filmmakers,” Michelle Satter, the director of the Institute’s Feature Film Program, said.

Sundance Institute/Mahindra Filmmaking Awards at Sundance House. Photo by Calvin Knight.

After explaining that he majored in film as an undergrad at Harvard, Anand Mahindra, the Vice Chairman and Managing Director of the Mahindra Group said, “I’m very grateful to Sundance for giving us this opportunity. Our purpose is to use all our resources to drive positive change in the lives of our stakeholders and communities across the world.”

The partnership between the Institute and Mahindra includes the establishment of a Mumbai Mantra/Sundance Institute Screenwriters Lab in India, and extends over a three-year period. The Lab will provide an opportunity for eight screenwriters from India to develop their works under the guidance of accomplished international screenwriters in an environment that encourages storytelling at the highest level.

The projects by the four winning filmmakers announced on Tuesday cover a wide range of both geographic and aesthetic ground. Etienne Kallos’ Free State is set during the annual corn harvest and explores the rites of passage into manhood for a new generation as they navigate identity and sexuality within the fractured realm of post-Colonial Africa. Ariel Kleiman’s Partisan is a confronting fable about Alexander who, raised to see the world through his parents eyes, is starting to think for himself.

Mahindra award winner Shonali Bose (India). Photo by Calvin Knight.

Dominga Sotomayor’s Late to Die Young takes place in an isolated community far from the city, where three women face a forest fire that threatens their sense of belonging and their lives. And Shonali Bose’s Margarita with a Straw is about Laila, whose brilliant and funny mind is trapped in a disobedient body as she falls repeatedly in love, yearns to have sex, and wants to be a Bollywood songwriter. Each of the filmmakers spoke briefly at the event, but an observation that Etienne Kallos made applies to them all: “I see storytelling as something bigger and better than myself,” he said.

#Sundance on Instagram: Day Six

Roger Erik Tinch, Online and Digital Media — 2012-01-25T23:20:31+00:00

Day Six of #Sundance on Instagram focuses on Festival landscapes and the interesting characters who inhabit them.

Don't forget to use #sundance when posting to Instagram so your photo has a chance of making our daily roundup. And also follow us on Instagram at username sundanceinstitute.

The Director of ½ Revolution Recounts his Experience on the Front Lines of the Egyptian Revolt

2012-01-25T19:43:52+00:00

Exactly one year ago, a group of activist friends armed with cameras walked out their front door to the epicenter of the Egyptian uprising. With the struggle to survive competing with the struggle to document the events, directors Omar Shargawi and Karim El Hakim capture a fierce moment of history in their film ½ Revolution, part of the Festival’s World Documentary Competition. Karim El Hakim, whose past film credits include Egypt We Are Watching You, understands the power of street protests in action. In his own words below, El Hakim recalls his on-the-ground experience in Cairo.

Responding to the Call to Action

We knew something would happen in Egypt after the fall of Ben Ali in Tunisia and decided to film whatever may happen –for history’s sake at the very least. I kept my camera batteries charged and ready in case something sparked in Egypt. Suddenly on Police Day, January 25, 2011 (a national holiday that commemorates the deaths of 50 Egyptian policemen defending the Ismailia police headquarters from British troops on January 25, 1952) a call was made on the Internet (via Facebook and YouTube) for all Egyptians to take to the streets to protest against police brutality and Mubarak’s 30-year Dictatorship.

I heard about this through activist/artist friends who were joining a march that was headed to Tahrir, but I didn’t think much about it. But when I called back an hour later, the march was over 5,000 strong and growing. Omar and I mobilized and went down to Tahrir, which is just a few blocks from our apartments in downtown. We filmed the massive police presence and small groups of rather polite protesters. It all felt very odd seeing groups of Egyptians chanting slogans against Mubarak – something very rare in public.

Even the police showed surprising restraint at the very beginning, but they finally lost their nerve and started attacking the protesters – first with water cannons and then tear gas. Later that night of the 25^th they attacked the first sit-in of Tahrir with shotguns and live rounds. Many died that first night and countless were injured. We ended up getting grabbed and beaten and arrested and later released on the edge of the desert at four in the morning. We were lucky they had no idea we had been filming or even that we had cameras in our pockets! That’s when it all started, but of course we had no idea at that point what would happen and how far it would go.

½ Revolution directors Omar Shargawi and Karim El Hakim. Photo by Colby D. Crossland/Getty Images.

Word-of-Mouth Still Works

Surprisingly, social media played a very little part in my personal experience. The Internet was shut down and mobile phones were also. The effect of shutting down the net and the mobile phones had a surprising effect: because people could not communicate with each other, they simply went out into the street to see what was happening and get word-of-mouth news. This swelled the crowds in the street into a sort of critical mass that didn’t need Twitter or Facebook to know what was happening. In the end, it really wasn’t a matter of technology that made the Egyptian Revolution – it was good old-fashioned people power in the streets.

Bearing Witness to Historic Change

The Egyptian Revolution must be the most extensively photographed and filmed uprising ever in the history of mankind. I would see like, a hundred thousand people in the streets and 30,000 cameras. It was like we all understood the importance of being a witness to these events and to record them for history – so that it could never be denied that it ever happened.

These clips made their ways onto YouTube and other sites and have been flowing ever since. International public opinion continues to be a powerful force in effecting political outcomes and if it wasn’t for the proliferation of cameras and brave individuals wielding them, perhaps events would have turned out differently in Egypt and elsewhere.

A camera is perhaps the only weapon people have against countering the sheer brutality and impunity of a police state. But it also takes an international audience that is willing and able to listen, and able to act on its collective outrage, that is the real driving force for influencing change.

Director Karim El Hakim at the premiere of ½ Revolution. Photo by Sonia Recchia/Getty Images.

Home Court Advantage

This was happening all around my neighborhood. We were in the thick of it and couldn’t escape it. Many important scenes in the film I actually shot from my balcony often when I was at home charging batteries or downloading footage. But the most amazing and compelling reason to keep filming was the human story unfolding in front of me – how my friends and family were reacting to the growing shock of what seemed to be a situation out of control, completely unpredictable, and increasingly dangerous on so many levels. I loved how we huddled together and struggled to stay inseparable and how our emotions would fly from highs to lows in a matter of seconds.

Inside the Critical Mass

When I was in the crowd and was absorbing the emotions around me, it was like the individuals in the crowd all became like networked computers – like one huge collective consciousness where everyone had the same goal. People banded together instantly to help each other, offer vinegar (to counteract the gas), or onions to clean ones eyes with. People stood on their balconies throwing down water and signaling people to surge forward when the police would retreat. Mosques became instant field hospitals as doctors rushed to help the wounded and young guys on vespas and motorcycles became public ambulances.

All of this was a completely spontaneous effort of individuals instantly forming groups with no leadership or organization but the effect was so inspiring and contagious that it led to a collective rejection of fear. Once the fear barrier broke, the people really found their voice and their real power as a human tsunami, which became unstoppable.

The Real Time of ½ Revolution

People watching the film get sucked in and experience moments as the characters do – they feel they are there, along for the ride, just out of frame. This emotional bond allows the audience to not only watch the story as an observer, but also feel the emotions of the characters as a participant. This was something we really stuck to in editing – staying with the true emotions of our characters to tell the story. The result is not a story about the revolution per se, but rather an almost anthropological examination of people under the stress of a revolution – how they behave, what they fear, and the hard choices they constantly make to survive and struggle to stay united.

Sundance 2012 Shorts Awards Honor Pirates, Robots, and More

Bridgette Bates — 2012-01-25T06:26:53+00:00

Recognizing what is dubbed the Festival’s most innovative and experimental program, the Sundance Film Festival Awards for Best Short Films were just announced in a location that most definitely subverts expectations: the Jupiter Bowl, an irreverent, fluorescently-lit, DJ pulsing mega-bowling-plex. The awards were hosted by actress Michaela Watkins who described coming back to Sundance with her second film as returning to summer camp “when your boobs come in.”

Out of the nearly 7,000 short films submitted to the Festival, 64 films were accepted into the Short Film program presented by Yahoo! The 7 favorites below were selected for awards by three jurors: Beavis and Butt-Head and King of the Hill creatorMike Judge; the director of the award-winning short film and subsequent feature film Pariah, Dee Rees; and Shane Smith, director of public programs at TIFF Bell Lightbox. Smith turned to the shorts programmers at the beginning of the ceremony and called them “suckers” for having to watch all 7,000 films when he only had to watch the chosen few.

The Jury Prize in Short Filmmaking went to FISHING WITHOUT NETS, directed by Cutter Hodierne, and co-written by Hodierne and John Hibey. An epic tale of Somalian pirates - told from their perspective - this short film humanizes a group of rogue men who have made headlines across the globe. Yahoo! presented this film with a $5,000 award for the Jury Prize. “I’m about to puke,” said Hodierne before he thanked his producers and crew who journeyed to Africa with him to make the film. “We went to East Africa for a three week trip, which ended up being five months,” he said, describing the hardships of filming the short which included being held at gunpoint. “It’s a sensitive subject that we wanted to tell with a real human perspective,” Hodierne added.

Director Cutter Hodierne receives $5,000 Jury Prize from Yahoo! Photo credit by Jonathan Hickerson.

Blerim Gjoci. Photo credit by Jonathan Hickerson.

Sometimes two filmmakers are better than one. The Jury Prize in Short Film, U.S. Fiction was awarded to brothers Benny and Josh Safdie for The Black Balloon. The Black Balloon is not like other balloons—he rises above NYC to gain a fresh look on the Big Apple.

A film from Kosovo took the Jury Prize in Short Film, International Fiction: The Return (Kthimi),directed by Blerta Zeqiri, and written by Shefqet Gjocaj. In the film, a man’s homecoming from a Serbian prison is complicated by his struggles to continue where he left off with his wife and son. “We come from Kosovo, so you know we have a war-torn country. We are the youngest country in the world and tonight we became a true unsupervised independent country, so this award means a lot,” remarked producer Blerim Gjoci, standing alongside the director.

Lucy Walker. Photo credit by Jonathan Hickerson.

Today was a big day for Lucy Walker’s The Tsunami and the Cherry Blossom, which was nominated for an Oscar early this morning. Tonight, Cherry Blossom picked up the Jury Prize in Short Film, Non-Fiction. A visual haiku and a story of survival, this short film documents the resurrection of life in Japan following tragedy. “I think the film is about life and death and truth and beauty,” said Walker upon accepting the award. She was flustered by the remarkable events of the day, “I got nominated for an Academy Award and I got carded here,” joked Walker.

The second film to be nominated for an Oscar today, the Jury Prize in Animated Short Film was presented to Grant Orchard’s A Morning Stroll. Mike Judge introduced the prize for “sly commentary” to A Morning Stroll, which poses a deep, philosophical quandary: who is pluckier - a New Yorker or a chicken?

The jury acknowledged The Arm for a Special Jury Award for Comedic Storytelling by the female trio of directors and screenwriters: Brie Larson, Sarah Ramos, Jessie Ennis. The film provides an up-to-the-minute social commentary on teen love in a time of technology.

Brie Larson, Sarah Ramos, Jessie Ennis. Photo credit by Jonathan Hickerson.

Last but not least, the jury also gave a special recognition to director Kibwe Tavares’ Robots of Brixton with a Special Jury Award for Animation Direction. Drawing on the history of racial tension in a neighborhood, the film imagines a future where robots suffer from poverty and discrimination. Tavares gave a sweet shout out to his girlfriend and his family for crossing the pond to be with him at Sundance.

Director Kibwe Tavares and Juror Mike Judge. Photo credit by Jonathan Hickerson.

#Sundance on Instagram: Day Five

Roger Erik Tinch, Online and Digital Media — 2012-01-25T01:02:14+00:00

We're at the midway point of the Festival and the quality—and quantity—of #Sundance photos on Instagram is not letting up. Day Five gives us a look at packed theatres, a view through 3D glasses, and an invisible Sean Penn?

Don't forget to use #sundance when posting to Instagram so your photo has a chance of making our daily roundup. And also follow us on Instagram at username sundanceinstitute.

Sundance-Supported Films Garner Academy Awards Nominations

Sundance Institute — 2012-01-24T20:31:08+00:00

Congratulations to the seven Sundance Institute- and Sundance Film Festival-supported films and filmmakers nominated for the Academy Awards.

Documentary (Feature)

Hell and Back Again, directed by Danfung Dennis and Mike Lerner

If a Tree Falls: A Story of the Earth Liberation Front, directed by Marshall Curry and Sam Cullman

Documentary (Short Subject)

The Barber of Birmingham: Foot Soldier of the Civil Rights Movement, directed by Robin Fryday and Gail Dolgin

The Tsunami and the Cherry Blossom, directed by Lucy Walker and Kira Carstensen

Foreign Language Film

Monsieur Lazhar, directed by Philippe Falardeau (Canada)

Short Film (Animated)

A Morning Stroll, directed by Grant Orchard and Sue Goffe

Writing (Original Screenplay)

Margin Call, written by J.C. Chandor

#Sundance on Instagram: Day Four

Roger Erik Tinch, Online and Digital Media — 2012-01-24T01:05:50+00:00

Day Four of #Sundance on Instagram includes a Pinkman, a non-hipster, and a Deadmau5.

Don't forget to use #sundance when posting to Instagram so your photo has a chance of making our daily roundup. And also follow us on Instagram at username sundanceinstitute.

In Memory of Bingham Ray

Sundance Institute — 2012-01-23T19:38:34+00:00

It is with great sadness that Sundance Institute acknowledges the passing of Bingham Ray, cherished independent film executive and most recently Executive Director of the San Francisco Film Society. On behalf of the independent film community here in Park City for the 2012 Sundance Film Festival and elsewhere, we offer our support and condolences to his family. Bingham's many contributions to this community and business are indelible, and his legacy will not be soon forgotten.

Robert Redford, HBO’s Sheila Nevins, and the BBC’s Nick Fraser ponder Docs’ Potent

Claiborne Smith — 2012-01-23T02:56:20+00:00

How have documentaries changed the notion of change? That philosophical conundrum animated the lively exchange at the Power of Story: How Docs Changed Change panel at the Egyptian Theatre on Saturday afternoon, between moderator and CNN anchor Soledad O’Brien asked the panelists - Sundance Institute President and Founder Robert Redford; Sheila Nevins, the president of HBO Documentary Films; and Nick Fraser, the commissioning editor of BBC’s Storyville. “I think it’s impossible to know really what documentaries do,” said Fraser, adding that demonstrable proof of social change can be difficult to gauge. “That’s why documentaries are interesting, because you engage with a documentary and allow them to go in a direction you don’t know about. They may change things, and we hope they do, but that’s not why we watch them, and actually, that’s not really why we love them. We love them because they appeal to our curiosity and common humanity.”

Robert Redford on the Power of Story panel. Photo by Calvin Knight.

Redford added that, “feelings about documentaries change over time.” Later during the panel, he recalled going to the movies as a child with his family during World War II and being fascinated by the Pathé news reels that played before the film more than the film itself. From that moment, a love of documentary compelled him to found Sundance Institute and the Labs to foster artistic talent. “Right now, documentaries do play a role of penetrating some of the fog that comes out of normal media outlets,” he said. “If there’s something about it that is real, it has an edgy quality.”

Robert Redford, Nick Fraser, Shelia Nevins, and Soledad O'Brien. Photo by Calvin Knight.

Nevins lamented the fact that, despite the popularity of documentaries at the Festival, they’re not popular enough in America at large. Nevins also talked about having to compete with the other divisions of HBO to garner the viewership numbers that feature films and other programming rake in. “Do docus evoke change?” Nevins asked rhetorically, underlining her skepticism with a harsh, but honest observation: “You think you’re making a tsunami, but the reality of the docus is you’ve made a wave,” she said. “Maybe you touch a few, maybe you touch many. We all knows docus that have changed the world, but you can count them on your fingers.”

A Celebration of Music in Film with Ice-T, Chuck D, and Grandmaster Caz

Bridgette Bates — 2012-01-22T19:56:41+00:00

Yesterday afternoon, Ice-T, a pop-cultural jack-of-all trades, added one more notch to his creative tool belt: Director. He premiered his film, Something From Nothing: The Art of Rap, in the Festival’s Documentary Premieres program. Co-directed by Andy Baybutt, the doc follows Ice-T as he literally takes to the streets to interview the pantheon of rap and hip-hop masters from over the last 30 years about the craft and skill of rapping; and how this art form redefined a generation.

Ice-T performing at A Celebration of Music in Film. Photo by Jonathan Hickerson.

The Q&A was not a typical post-film discourse. Yes, many audience members had serious questions for the director. But some of Ice-T’s responses came in the form of impromptu rap. The audience often broke out in a collective bob, unintentionally foreshadowing the evening festivities to come.

Later that night, Ice-T, along with two of his fellow doc subjects Chuck D (of Public Enemy) and Grandmaster Caz, took the stage again for “A Celebration of Music in Film” at the Sundance Music Café. Peter Golub, the director of Sundance Institute’s Film Music Program, has produced this event for several years to showcase the crucial role that music plays in the composition of a film. And what better way to celebrate the livelihood of film music than with a live concert?

Grandmaster Caz performing at Music Café. Photo by Jonathan Hickerson.

Before the trio performed, they took part in a brief Q&A moderated by Tracy McKnight, co-programmer of the event and head of film music at Lions Gate, during which they, quite fittingly for Sundance, spoke about the spirit of making independent art. Ice-T also described his frustration with the current music scene, “New artists are caught in a paradigm,” he explained. “There is no underground because of the Internet… the Internet now means free,” which has created an economic pressure on music production. He added, “The new artist is now forced to produce stuff for the radio. You’re limited with content.”

Ice-T connected today’s disillusioned youth, the mass consumers of radio fluff, with his own son and how by providing his son with a life of privilege, he has disconnected his son from reality. “How can he rap about what I rapped about when he hasn’t lived it?” He pleaded with today’s rappers to “look at the conditions around you. You’ve got a black president, you’ve got sub-prime situations, you’ve got unemployment, you’ve got a fucking war.”

DJ Evil E on the turntables at Music Café. Photo by Jonathan Hickerson.

The actor-director-musician then pushed the context beyond rap. “Music as a whole is delusional,” Ice-T said. “If you listen to pop music right now you’ll think life is perfect. Life is fucked up right now.” However, Ice-T sees a light at the end of the tunnel, “We’re in the Ice Age, but I think this shit is going to open up. I’m looking for a 19-year-old Rage Against the Machine, a 19-year-old Public Enemy, a 19-year-old Ice-T, 19-year-old NWA.”

Heeding his own advice to keep music real, Ice-T, Chuck D, and Grandmaster Caz shared the mic, tag-teaming a show that included segments from their old school rap as well as some spontaneous freestyling. Highly poetic by nature, the intimacy of their lyrics was not lost in performance. Never detaching from the moment at hand, they were in constant interaction with the audience—from Grandmaster Caz asking if anyone had ever been caught having sex (he went on to rap his personal saga), to Ice-T pulling on stage his “biggest fan,” a seemingly straight-laced, spectacled, middle-aged white guy who eagerly took the mic and stepped up to the challenge of backing-up Ice-T in rhyme. The sense of spontaneity sustained the energy of the packed house. Everyone continued to bounce even if they had no idea what was going to come out of the trio’s mouth next.

#Sundance on Instagram: Day Three

Roger Erik Tinch, Online and Digital Media — 2012-01-22T19:29:14+00:00

Day Three of #Sundance on Instagram was all about the heaps of snow that fell on Park City. Between the cold stare of Eric Wareheim and the cold journey to a 6:00am screening, you may need to wear a sweater to look at these.

Don't forget to use #sundance when posting to Instagram so your photo has a chance of making our daily roundup.

Gingger Shanker Guest Blogs about her Directors Brunch Odyssey

Gingger Shankar — 2012-01-22T18:53:08+00:00

Gingger Shankar is a Sundance Institute Alumni Advisory Board Member and the director of the 2012 New Frontier installation Himalaya Song.

On Day 3, Mridu, Dave, and I (Himalaya Song) were able to start really settling in to the groove of things. We had our first major rehearsal on Thursday and now we're two days away from our first performance. I am so tired at this point after three days of no sleep and constantly talking that I'm pretty sure I'm not speaking English anymore.

Himalaya Song Directors Dave Liang, Mridu Chandra, and Gingger Shankar.

This was my first trip to park city in five years where it was not snowing when I landed. It has been the warmest Sundance anyone around here can remember. Driving up the familiar route from the airport to Park City was so surreal since there was barely any snow on any mountain! So you can imagine the excitement in the town (and the ski resorts) when the news came that we were finally going to have snow..

This early morning started with the Directors (and New Frontier artists) Brunch. It is an event that Sundance puts together up at the resort for the creatives to all be able to eat together, mingle and actually get a chance to hear about everyone's projects. We had 3 buses take us up to the resort. We noticed that the snow was really starting to come down. The trip up to the resort proved to be quite an adventure. I was in the first bus which, luckily, made it up the mountain. The other two buses of directors had quite interesting adventures. Because the snow started coming down so hard and the road crews were trying to keep up, the journey up the mountain was quite treacherous. The second bus apparently hit a car and the third one got stuck so half the directors had to get off the bus and walk up the steep mountain. Some of them didn't arrive for an hour after we started! The funny thing is that this ended up being the easier part of the journey. It took many more hours to get off the mountain once the roads were closed! At least it gave all of us a chance to really get to know each other. Nothing like five hours in a bus to get to know someone!

Himalaya Song Directors Gingger Shankar and Mridu Chandra, and Evoluton: Megaplex Director Marco Brambilla.

The brunch was at the Sundance Resort, where I attended the Film Composers Lab five years ago. It ended up being a reunion of sorts. Derrick Hodge (who attended the Labs with me and performed at An Artist at the Table on Thursday), Todd Sklar (who was a volunteer for Sundance when we were at the Labs) and I all ran into each other in the middle of this enormous room. After talking and reminiscing about how we were all just starting out at Sundance 5 years ago in this very same place, I come to realize Todd has directed a film this year that's at Sundance. It hits me that this is EXACTLY what Sundance is about: It's about creating a safe space, nurturing talent, continuing to support each artist through their individual journey. Talk about a full circle.

It was a loud and exciting room of creative people talking, laughing, sharing and (most importantly) eating. Then Mr. Redford walks in and you can hear a pin drop in the room. He shares with us the history of Sundance and how it has evolved from when he bought a few acres of land so many years ago. You realize what this man has created just because of his love of storytelling and artists. It hits me just how lucky we all are to be here at this moment.

At the Annual Directors Brunch, Robert Redford Walks the Spirit of Sundance

Christine Spines, Managing Editor — 2012-01-22T18:35:17+00:00

Sometime around 10:30 am on Day Three of the Sundance Film Festival, a pack of road-weary filmmakers piled out of a snow-shrouded bus and into a halcyon vision of rustic repose otherwise known as the Directors Brunch. As they were ushered into a large open-air converted barn at the Sundance Resort where tea and sympathy (and a mid-morning feast) awaited them, the group seemed to exhale a collective sigh of relief -- as if this were the creative homecoming they’d been hoping for much of their professional lives. Or, in the immortal words of David Byrne (and the title of one of this year’s Premiere selections): This must be the place.

Robert Redford at the 2012 Directors Brunch. Photo by Chad Hurst.

The annual Director’s Brunch is arguably the Festival’s defining event. At once intimate and inclusive, cloistered and communal, high minded and deeply grounded – the Directors Brunch is designed to bring each year’s matriculating class of filmmakers together under one roof to compare notes, commiserate, and celebrate each other’s accomplishments.

The journey to this year’s confab mirrored the endurance test that is independent filmmaking. The thirty-six mile drive to the Sundance Resort proved more treacherous than usual due to near white-out conditions on the road, causing one of the busses to come to a halt on the side of the road. “We all jumped out and started trying to figure out what was wrong,” laughs Armando Bo, who directed The Last Elvis, which is playing in the World Dramatic Competition. “Of course we’re all directors, so we were all trying to tell each other what to do.”

Director Armando Bo (The Last Elvis). Photo by Chad Hurst.

Once all the filmmakers had taken their seats, Sundance Institute Founder and President Robert Redford welcomed the directors with a story of his own arduous path from movie stardom to creative fulfillment behind the camera. “I had gotten to a point where I wanted to tell my own stories,” Redford recalled. “I wasn’t easy, but it didn’t matter because I just loved the feeling of having to depend on my own creative resources to transcend some of the obstacles. I loved coming together with the crew to make the most of what very little money and time we had to work with. That experience was so important to me that, over time, I wanted to give back and find a way to help other people do that.”

Cut to: The Sundance Film Festival, which was initially called the Utah/US Film Festival. “At the time I said, ‘We’ll create a festival made exclusively for independent film -- the only one in the world,” said Redford. “So here we are. And the reason we’re here is because of you, the filmmakers. I shared with you my journey to this place and now you have your journey ahead of you. There’s a lot of hype around these films and sometimes people get nuts. But be aware that that hype may not continue. In the future it’s going to be about how much you’ll be able to persevere when that hype evaporates. The heart of the game is your work and maintaining that work and getting it seen.”

Before heading back into the blizzard conditions, World Dramatic Competition juror Julia Ormond puzzled over the question of how to describe Sundance in one word. “Redford,” she said, pausing to collect her thoughts. “He walks the spirit of Sundance. He’s not just saying it he’s actually doing it. He’s got class, smarts, and wit. He had the understanding of the need for this space. And now he’s the person who is opening up this space to whoever wants to come into it. My sense is that everything comes from him.”

Rodrigo Cortés’ Red Lights Shines a Supernatural Spotlight on Cillian Murphy and Sigourne

Bridgette Bates — 2012-01-21T23:56:03+00:00

On Friday night, when Rodrigo Cortés premiered Red Lights to a packed Eccles Theatre, he offered up a piece of advice to the 1,200 audience members: “Don’t expect anything.” Duly noted, but audiences were hungry for the director’s follow-up to his much buzzed about Buried, which premiered at the 2010 Festival and boldly put Ryan Reynolds in a coffin for two suspenseful hours in a Hitchcockian, politically-charged thriller. His new film inhabits a similar tension-filled terrain; but Cortés is working on a much larger canvas here, having upgraded from Buried’s $3 million budget, claustrophobic one set, one actor storyline to Red Light’s $15-17 million budget, with an intricately twisted plot.

Director Rodrigo Cortes at the premiere of Red Lights. Photo by Stephen Speckman

Red Lights stars a formidable cast any director would lock himself in a coffin for two hours to work with. Robert De Niro, Cillian Murphy, Sigourney Weaver, and Elizabeth Olsen collectively ground a nebulous storyline with hefty performances. Dr. Margaret Matheson (Weaver) and her assistant Tom Buckley (Murphy) study and investigate paranormal hoaxes. In this case, they set out to debunk the legendary blind psychic Simon Silver (De Niro), who had enigmatically disappeared for 30 years, but has recently returned to the spotlight. Elizabeth Olsen plays a precocious student who joins the investigative team and quickly becomes Murphy’s love interest – maybe the most magnetic pairing of penetrating blue eyes on screen ever. Cortés, who not only directed, but also wrote and edited the film, riddles the subject of supernatural phenomena with the calculated rationale of science and the emotion of personal experience. Even as Matheson and Buckley dedicate their lives to standing firmly in reason, they struggle in their search to answer the essential question: Do supernatural powers exist?

Sigourney Weaver signs autographs at the premiere of Red Lights. Photo by Stephen Speckman.

You may anticipate a spoiler alert at this point, but that’s not how this film plays out. Yes, a resolution is offered, and we are reminded that sometimes the truth lies right before our very eyes. Yet the film’s ultimate resolution is as murky as a smudged crystal ball. In the Q&A following the screening, one audience member actually asked Cortés to explain what happens in the end. He kindly declined, hoping that each viewer has his/her own unique interpretation. And as he previously remarked his goal in making the film was for audiences not to just see it, but to experience it. “You start forgetting most movies after the credits start rolling,” the filmmaker said. “But some movies still survive inside your head,” said the director optimistically.

The script stuck with Sigourney Weaver, who was present for the Q&A along with Murphy and Olsen. “People have this great desire to believe that there’s more than what is,” Weaver said. “What is it in us that is not satisfied? Why do we dream and yearn for this other reality?” She consoled the mystified audience with her take on the film’s meaning, “If you really wanted to reduce everything down to phenomenon you probably could, but I think [Cortés’] point is that we don’t want to. We prefer to believe that fairies have done it.”

#Sundance on Instagram: Day Two

Roger Erik Tinch, Online and Digital Media — 2012-01-21T08:03:06+00:00

Day Two of #Sundance photos on Instagram includes a look at Main Street life, a shot of the shuttle hustle, and a photo op with an Edgerton.