Sundance Film Festival
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The New Year Writer/Director Brett Haley
A young woman works at the shoe counter at a Pensacola, Florida bowling alley. Having abandoned the ambitions of her youth, she takes care of her ailing father, who painfully struggles with cancer. With the return of a rival from high school into her long-standing social circle, the stillness that has taken over her existence breaks, leaving her to consider the possibility of a new direction, one which seems tantalizingly close and yet ever elusive. This is subject matter than might seem too comfortably within American independent cinema’s wheelhouse, but in thoughtful hands, even the most seemingly pedestrian yarns can […]
by Brandon Harris on Jul 28, 2010 -
TODAY IS CALL TIME FOR “LIFE IN A DAY”
In New York City at least, it is unbearably horrible outside. Whatever you do you will be suffering. So why not shoot some footage for Sundance’s “Life in a Day” project? Today, July 24, is the day during which you must shoot, and you have a few days after to send it in. You will definitely be in good company. Joe Berlinger, Marianna Palka, Peter Sollett, Caleb Deschanel, So Yong Kim, and Brad and Todd Barnes have all agreed to participate. Here’s Sundance’s John Cooper with more details. And before shooting, go here for more guidelines, the questions you must […]
by Scott Macaulay on Jul 24, 2010 -
THE DUPLASS BROTHERS TALK STUDIOS AND SNUGGLING
Alica Van Couvering’s interview with Mark and Jay Duplass in the current issue of Filmmaker was conducted at the Sundance Film Festival, where their latest film, Cyrus, premiered. Starring John C. Reilly, Marisa Tomei and Jonah Hill, the film is a comedy/drama about mid-life romance and the borderline aggro-child that stands in its way. Alicia’s interview was filmed by Zak Forsman, Kevin Shah and the Sabi Pictures team, and here’s an edit of their conversation. See more videos on our YouTube channel. The film opens Friday, June 18.
by Scott Macaulay on Jul 7, 2010 -
FOREVER CONTRABAND: WENDELL B. HARRIS JR.’S “CHAMELEON STREET”
Perhaps it goes without saying that the world of independent film missed the boat on Wendell B. Harris Jr. No one, especially this author with the same surname as the now fifty-six year old Michigan native, wants to play the woulda, shoulda, coulda game. Yet whenever I think about the career I would have liked to have seen Mr. Harris have, it’s hard not to turn a bit melancholy. I guess being in the right place in the right time with the right people and a large enough sum of money counts for something, but if being at the podium […]
by Brandon Harris on Jul 6, 2010 -
SUNDANCE DIRECTOR’S LAB DIARY: SAODAT ISMAILOVA
The Sundance Director’s Lab is currently wrapping at the Sundance Institute in Utah, and we have two filmmakers blogging about their experience. First up is Uzbekistan writer/director Saodat Ismailova, whose project, 40 Days of Silence, is described like this: “Four generations of women under one roof in Uzbekistan look to each other for comfort as they try to overcome their destinies.” Yesterday, June 19th, the director’s lab came to the end. When I look back at the past three weeks of my life it already seems like it was more than a year ago… I will simply divide the process […]
by Scott Macaulay on Jun 24, 2010 -
DEEP BACKGROUND ON THE SUNDANCE INSTITUTE AND FESTIVAL
At The Film Stage, Kristin Coates has a long and impressively detailed take on the early days of the Sundance Institute and Festival, tracing the social, political and industry currents that lead to the formation of what is now one of the dominant institutions in the world of independent film. The Directors Lab is currently unfolding at Redford’s Sundance Institute in Utah, and Coates’ article is not only a timely tale of Sundance but also a history of the transition from the “New Hollywood” of the mid-’70s to a self-identifying American independent film movement that gathered steam in the ’80s. […]
by Scott Macaulay on Jun 12, 2010 -
Shirin Neshat, Women Without Men
Shirin Neshat doesn’t shy away from complexity. Her internationally lauded photography and video installation work takes as its primary subject matter the epistemology that informs how we view Muslim women and the real world forces which shape there lived experiences. She challenges stereotypes and received knowledge in all of her works, a quality that has not gone unnoticed by the international art world. A pair of major installations in the late 1990’s, Turbulent (1998) and Rapture (1999), both of which received prizes at the Biennial of Venice, long ago cemented her place as one of the world’s most compelling visuals artists. That claim […]
by Brandon Harris on May 5, 2010 -
SUNDANCE DIRECTOR/SCREENWRITING LABS ANNOUNCED
Today the Sundance Institute announced the 13 projects selected for this year’s Director and Screenwriting Labs. Talking place in Park City, Utah June 1-25, the Labs will be filled with many familiar names to Filmmaker readers. 2008 25 New Faces alum Myna Joseph will be attending; as will Ondi Timoner, whose doc We Live In Public won the doc Grand Prize at Sundance in 2009; Ry Russo-Young, who was awarded our Best Film Not Playing at a Theater Near You award for You Wont Miss Me at last year’s Gothams, will be attending with her latest screenplay; and ’09 25 […]
by Jason Guerrasio on Apr 26, 2010 -
KERI PUTNAM NAMED NEW EXECUTIVE DIRECTOR OF SUNDANCE INSTITUTE
Big news out of Sundance tonight: Keri Putnam, former President of Production at Miramax Films and Executive Vice President at HBO Films, has been named the new Executive Director of the Sundance Institute. The position was previously held by Ken Brecher, who left Sundance last April. Keri is well known to many of us in the independent community for her leadership at Miramax and HBO, where she opened the door to both new directors as well as established veterans looking to explore new ideas that wouldn’t fly in the mainstream studio system. Among the films she has been involved with […]
by Scott Macaulay on Feb 25, 2010 -
“THE RED CHAPEL”‘S MADS BRUGGER | By Alicia Van Couvering
When Danish Zentropa director Mads Brugger decided to take himself and two Korean-Danish comedians to North Korea under the guise of a fake comedy project, he employed what he thought might be the magic word for repressive regimes seeking international image burnishing: “cultural exchange.” The film opens with a shot of Brugger, lying on a hotel bed, calmly reading Kim Jong-Il’s official Instruction Manual for Film Directing. The secret police who watched this footage every night apparently had no objection. What they somehow did not expect or anticipate was that Brugger would one day turn this footage into a feature […]
by Scott Macaulay on Feb 1, 2010
