By Alan Scherstuhl
By Amy Nicholson
By Charles Taylor
By Stephanie Zacharek
By Brian Feinzimer
By CAROLINA DEL BUSTO
By AMY NICHOLSON
By Amy Nicholson
For the next 10 days, all Hollywood eyes—and those of many a filmgoer—will turn toward the frigid wilds of Park City, Utah, reportedly experiencing its chilliest winter in a decade. Their collective hope: to discover at the 2013 Sundance Film Festival (running Jan. 17 through 26) the next Beasts of the Southern Wild, The Sessions, Chasing Ice or Searching for Sugar Man, to name four of last year's Sundance premieres now in the running for this year's Academy Awards. Those breakouts, alongside such acclaimed 2012 alumni as Keep the Lights On, Middle of Nowhere and The Queen of Versailles, offer ample proof that, as it enters its 29th year (and despite formidable competition from Austin's upstart South By Southwest), the festival remains reliable one-stop shopping for those films that will stand at the center of the indie-film conversation over the next 12 months.
It has been four years since this critic last set foot in Park City, and in that time, the festival has undergone a number of significant changes. After a two-decade reign, Sundance festival director Geoffrey Gilmore ceded the throne in 2009 to his longtime lieutenant, John Cooper—a shift that also saw longtime festival programmer Trevor Groth move up into Cooper's former role as director of programming. The following year brought the introduction of a new competitive section, NEXT, focused expressly on the sort of incipient, no-budget filmmaking that some observers saw the festival abandoning toward the end of the Gilmore era in favor of starrier fare tailor-made for the picture pages in Us Weekly. Another new category, Documentary Premieres, was established in 2011 to siphon off higher-profile docs by established filmmakers from the festival's main U.S. documentary competition. And the heretofore U.S.-centric festival has increasingly challenged its seasonal rivals Rotterdam and Berlin for international premieres, launching the likes of An Education, Bronson and the Irish musical Once, with new work by Australia's Jane Campion (Top of the Lake) and France's Anne Fontaine (Two Mothers) on tap for 2013.
In recent years, more Sundance films than ever before have entered the coveted world of U.S. distribution, even as that world has itself undergone a series of fairly dramatic, Darwinian adaptations. Long gone are the days when studio-owned "indie" divisions such as Focus, Fox Searchlight and Miramax routinely made Sundance headlines with profligate seven-figure acquisition deals for movies that almost inevitably failed to recoup. Nowadays, the few such companies that remain are more interested in long-term talent development, as Searchlight signaled when it signed a first-look deal with the New York-based Borderline Films collective responsible for Afterschool and Martha Marcy May Marlene. (In a similar move, Searchlight picked up two films at Sundance 2012 from the prodigiously talented actress/writer Brit Marling—the low-fi sci-fi drama Another Earth and the cult-leader thriller Sound of My Voice—and returns to the festival this year with Marling's latest, The East.) Meanwhile, for more and more Sundance movies, "distribution" might mean playing on an Apple TV near you rather than in a brick-and-mortar cinema, as upstart micro-distributors navigate the swiftly changing currents of video-on-demand platforms.
As more than 100 new feature-length films unspool (or, rather, digitally splay) across Park City screens, I'll be reporting back with regular dispatches. In the meantime, here's an early look at some standouts sure to be generating buzz on Main Street:
CHARLIE VICTOR ROMEO
If France's master post-structuralist filmmakers Jean-Marie Straub and Danièle Huillet had directed Flight, it might resemble this utterly unclassifiable whatsit screening in Sundance's New Frontier section (devoted to works of the avant-garde). Originally produced onstage by New York's Collective:Unconscious theater group, Charlie Victor Romeo consists of six dramatizations of real-life airline emergencies, performed on a spartan set by a small repertory company, using transcripts of the actual "black box" cockpit voice-recorder transmissions as the script. Now, CVR is a movie, albeit one shot—in 3-D, no less—during several live performances in front of an audience, the theatrical lighting and set design adding an eerie, disembodied feel to the harrowing struggle between man and machine transpiring before us. (The pièce de résistance: a beat-by-agonizing-beat reenactment of the United Airlines DC-10 that crashed into a Sioux City, Iowa, cornfield in 1989 after losing one of its engines.) For 80 minutes, the movie keeps you in something akin to suspended animation, waiting to exhale. All told, CVRmight be more than some (most?) viewers can bear, but this much is for sure: You've never seen anything like it.
MOTHER OF GEORGE
The gifted Nigerian-born photographer and filmmaker Andrew Dosunmu, whose debut feature, Restless City, was one of the most promising discoveries of last year's Sundance, returns with this even-more-accomplished relationship drama about Adenike (sensational newcomer Danai Gurira—remember that name), a young Nigerian woman who emigrates to America to wed her fiancé, Brooklyn restauranteur Ayodele (the great Claire Denis regular Isaach De Bankolé). The film opens with a traditional Yoruba wedding banquet worthy of Visconti, before settling into a richly detailed portrait of African immigrant life in this proprietary corner of New York, all wrapped in a lyrical glaze by cinematographer Bradford Young. When Adenike fails to become pregnant in a timely manner, her formidable mother-in-law proposes a solution worthy of Greek tragedy, but one that Dosunmu and screenwriter Darci Picoult deploy with a minimum of melodrama and a maximum of psychological realism. Together with such other recent Sundance finds as Dee Rees' Pariah and Ava Duvernay's Middle of Nowhere, Dosunmu's work suggests a new renaissance moment for American black cinema.
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