With his second feature, the Gotham Award-winning Littlerock, California native Mike Ott explores the dreams of a small California town through the eyes of a visiting pair of young Japanese tourists. By Ray Pride.
From a screenplay by Leslie Dixon, Neil Burger takes us on a pharmaceutical-fueled joyride through a conspiratorially intelligent New York business world in Limitless. By Scott Macaulay PLUS: Leslie Dixon on nurturing your inner Tarantino.
Winner of the Palme d’Or at this past year’s Cannes Film Festival, Apichatpong Weerasethakul’s Uncle Boonmee Who Can Recall His Past Lives is an enlightening journey graced with a fairytale feel that’s unlike anything you’ll see in theaters this year. By Howard Feinstein.
For Dana Adam Shapiro’s eerie and erotic relationship drama Monogamy, cinematographer Doug Emmett creates a voyeuristic visual style in line with the film’s conflicted protagonist. Here D.P. Eric Lin chats with Emmett about crafting the film’s unique look.
[PREMIERE SCREENING: Monday, Jan. 24, 12:00 pm — Temple Theatre] As a first-time filmmaker, being accepted into the U.S. Documentary Competition at Sundance was obviously the biggest surprise. But what was also a huge surprise was going back to read the outline that I wrote in the summer of 2008 when Hot Coffee was just a dream. After finishing the film in the summer of 2010, I reread my original outline and to my great surprise realized that the final version of the film was almost exactly what I had laid out in the outline, despite having not gone back […]
There are few professions in the world that demand more from their practitioners than documentary filmmaking — most filmmakers spend years (if not lives) toiling away in obscurity, with little keeping them going beside the faith that theirs is a story worth sacrificing everything for. Sundance newbie, Jon Foy, is certainly a man of faith — his feature debut, Resurrect Dead, was entirely self-funded by a series of odd jobs. When he got the call that the film he’d been working on for five years was going to be at Sundance, he was working as a house cleaner. The […]
[PREMIERE SCREENING: Monday, Jan. 24, 12:15 pm — Eccles Theatre] The biggest surprise is how the movie began, and how it ended. We started with no money, a basic treatment and a Sony EX3. I didn’t really care about getting all my ducks in a row before starting. We just started. Brit Marling, Morgan Marling (her sister), Liang (my friend from China) and I went to Connecticut where I grew up and we set out to make this epic indie minimalist science fiction drama. On the first day, Brit came back from a run in the morning and told us […]
[PREMIERE SCREENING: Monday, Jan. 24, 3:00 pm — Holiday Village Cinema IV] Admittedly the decision to make my movie was based on an absurd gamble. I dropped out of school and moved to another town in an attempt to solve a bizarre and obscure two-decade old mystery. Once relocated, this sober reality began to set in. What if we never find anything? What if we turn up an answer too quickly? Or if the story is lackluster? What on Earth was I even expecting to find? But, to my astonishment, the investigation began taking off. And suddenly the world felt […]
“I see no difference between the two”: cinema’s role in society. By Zachary Wigon.
To grow up or not to grow up? Three days into Sundance, three very different films have asked this same question. Bellflower, The Future and The Lie are all, nominally, about the same thing: white people in Los Angeles, unsure of their relationship, trying to reconcile their adulthood with their self-image. Surely these topics – who am I? who should I be with? — are not new to cinema, but their prevalence in the films here at Sundance and in recent American indies can sometimes overwhelm. Last year’s The Freebie, for instance, followed a Los Angeles couple on a journey […]