
BREAKING: The Sundance Institute has unveiled the U.S. and World Cinema Dramatic and Documentary competition slate for the 2012 Sundance Film Festival that runs January 19-29. There is a total of 110 features. At the Gotham Awards earlier this week, both agents and distributors felt there would a bounty of promising films with no distribution. That could make for a lot of dealmaking, which is certainly the way it went down last January in Park City.
Here are the selections in all categories:
U.S. DRAMATIC COMPETITION
The world premieres of 16 American narrative feature films.
Beasts Of The Southern Wild / U.S.A. (Director: Benh Zeitlin, Screenwriters: Benh Zeitlin, Lucy Alibar) — Waters gonna rise up, wild animals gonna rerun from the grave, and everything south of the levee is goin’ under, in this tale of a six year old named Hushpuppy, who lives with her daddy at the edge of the world. Cast: Quvenzhané Wallis, Dwight Henry.
The Comedy / U.S.A. (Director: Rick Alverson, Screenwriters: Rick Alverson, Robert Donne, Colm O’Leary) — Indifferent even to the prospects of inheriting his father’s estate, Swanson whiles away his days with a group of aging Brooklyn hipsters, engaging in small acts of recreational cruelty and pacified boredom. Cast: Tim Heidecker, Eric Wareheim, Kate Lyn Sheil, Alexia Rassmusen, Gregg Turkington.
The End Of Love / U.S.A. (Director and screenwriter: Mark Webber) — A young father unravels following the loss of the mother of his child. Cast: Mark Webber, Shannyn Sossamon, Michael Cera, Jason Ritter, Amanda Seyfried, Frankie Shaw.
Filly Brown / U.S.A. (Directors: Youssef Delara, Michael D. Olmos, Screenwriter: Youssef Delara) — A Hip Hop-driven drama about a Mexican girl who rises to fame and consciousness as she copes with the incarceration of her mother through music. Cast: Lou Diamond Phillips, Gina Rodriguez, Jenni Rivera, Edward James Olmos.
The First Time / U.S.A. (Director and screenwriter: Jonathan Kasdan) — Two high schoolers meet at a party. Over the course of a weekend, things turn magical, romantic, complicated and funny, as they discover what it’s like to fall in love for the first time. Cast: Brittany Robertson, Dylan O’Brien, Craig Roberts, James Frecheville, Victoria Justice.
For Ellen / U.S.A. (Director and screenwriter: So Yong Kim) — A struggling musician takes an overnight long-distance drive in order to fight his estranged wife for custody of their young daughter. Cast: Paul Dano, Jon Heder, Jena Malone, Margarita Levieva, Shay Mandigo.
Hello I Must Be Going / U.S.A. (Director: Todd Louiso, Screenwriter: Sarah Koskoff) — Divorced, childless, demoralized and condemned to move back in with her parents at the age of 35, Amy Minsky’s prospects look bleak – until the unexpected attention of a teenage boy changes everything. Cast: Melanie Lynskey, Blythe Danner, Christopher Abbott, John Rubinstein, Julie White. DAY ONE FILM
Keep The Lights On / U.S.A. (Director: Ira Sachs, Screenwriters: Ira Sachs, Mauricio Zacharias) — An autobiographically inspired story of a passionate long-term relationship between two men driven by addiction and secrets but bound by love and hopefulness. Cast: Thure Lindhardt, Zachary Booth, Julianne Nicholson, Souleymane Sy Savane, Paprika Steen.
LUV / U.S.A. (Director: Sheldon Candis, Screenwriters: Sheldon Candis, Justin Wilson) — An orphaned 11-year-old boy is forced to face the unpleasant truth about his beloved uncle during one harrowing day in the streets of Baltimore. Cast: Common, Michael Rainey Jr., Dennis Haysbert, Danny Glover, Charles S. Dutton.
Middle Of Nowhere / U.S.A. (Director and screenwriter: Ava DuVernay) — When her husband is incarcerated, an African-American woman struggles to maintain her marriage and her identity. Cast: Emayatzy Corinealdi, David Oyelowo, Omari Hardwick, Lorraine Touissant, Edwina Findley.
Nobody Walks / U.S.A. (Director: Ry Russo-Young, Screenwriters: Lena Dunham, Ry Russo-Young) — Martine, a young artist from New York, is invited into the home of a hip, liberal LA family for a week. Her presence unravels the family’s carefully maintained status quo, and a mess of sexual and emotional entanglements ensues. Cast: John Krasinski, Olivia Thirlby, Rosemarie DeWitt, India Ennenga, Justin Kirk.
Safety Not Guaranteed / U.S.A. (Director: Colin Trevorrow, Screenwriter: Derek Connolly) — A trio of magazine employees investigate a classified ad seeking a partner for time travel. One employee develops feelings for the paranoid but compelling loner and seeks to discover what he’s really up to. Cast: Aubrey Plaza, Mark Duplass, Jake Johnson, Karan Soni.
Save The Date / U.S.A. (Director: Michael Mohan, Screenwriters: Jeffrey Brown, Egan Reich, Michael Mohan) — As her sister Beth prepares to get married, Sarah finds herself caught up in an intense post-breakup rebound. The two fumble through the redefined emotional landscape of modern day relationships, forced to relearn how to love and be loved. Cast: Lizzy Caplan, Alison Brie, Martin Starr, Geoffrey Arend, Mark Webber.
Simon Killer / France, U.S.A. (Director and screenwriter: Antonio Campos) — A recent college graduate goes to Paris after breaking up with his girlfriend of 5 years. Once there, he falls in love with a young prostitute and their fateful journey begins. Cast: Brady Corbet, Mati Diop, Constance Rousseau, Michael Abiteboul, Solo.
Smashed / U.S.A. (Director: James Ponsoldt, Screenwriters: Susan Burke, James Ponsoldt) — Kate and Charlie are a young married couple whose bond is built on a mutual love of music, laughter and… drinking. When Kate decides to get sober, her new lifestyle brings troubling issues to the surface and calls into question her relationship with Charlie. Cast: Mary Elizabeth Winstead, Aaron Paul, Octavia Spencer, Nick Offerman, Megan Mullally.
The Surrogate / U.S.A. (Director and screenwriter: Ben Lewin) — Mark O’Brien, a 36-year-old poet and journalist with an iron lung, decides he no longer wishes to be a virgin. With the help of his therapist and the guidance of his priest, he contacts a professional sex surrogate to take him on a journey to manhood. Cast: John Hawkes, Helen Hunt, William H. Macy.
U.S. DOCUMENTARY COMPETITION
The world premieres of 16 American documentary films.
Ai Weiwei: Never Sorry / U.S.A., China (Director: Alison Klayman) — Renowned Chinese artist and activist Ai Weiwei has garnered international attention as much for his ambitious artwork as his political provocations and increasingly public clashes with the Chinese government.
The Atomic States of America / U.S.A. (Directors: Don Argott, Sheena M. Joyce) — In 2010, the United States announced construction of the first new nuclear power plant in more than 32 years. A year later, a 9.0 magnitude earthquake struck the Fukushima Power Plant in Japan sparking a fierce debate in the U.S. over the safety and viability of nuclear power.
Chasing Ice / U.S.A. (Director: Jeff Orlowski) — Science, spectacle and human passion mix in this stunningly cinematic portrait as National Geographic photographer James Balog captures time-lapse photography of glaciers over several years providing tangible visual evidence of climate change.
DETROPIA / U.S.A. (Directors: Heidi Ewing, Rachel Grady) — The woes of Detroit are emblematic of the collapse of the U.S. manufacturing base. This is the dramatic story of a city and its people who refuse to leave the building, even as the flames are rising.
ESCAPE FIRE: The Fight to Rescue American Healthcare / U.S.A. (Directors: Matthew Heineman, Susan Froemke) — What can be done to save our broken medical system? Powerful forces are trying to maintain the status quo in a profit-driven medical industry, but a movement to bring innovative methods of prevention and healing is finally gaining ground – potentially saving the health of a nation.
Finding North / U.S.A. (Directors: Lori Silverbush, Kristi Jacobson) — A crisis of hunger looms in America and is not limited to the poverty stricken and uneducated. Can a return to policies of the 1970s save our future?
The House I Live In / U.S.A. (Director: Eugene Jarecki) — For over 40 years, the War on Drugs has accounted for 45 million arrests, made America the world’s largest jailer and damaged poor communities at home and abroad. Yet, drugs are cheaper, purer and more available today than ever. Where did we go wrong and what is the path toward healing?
How to Survive a Plague / U.S.A. (Director: David France) — The untold story of the intensive efforts that turned AIDS into a manageable condition – and the improbable group of (mostly HIV-positive) young men and women whose amazing resilience broke through a time of rampant death and political indifference.
The Invisible War / U.S.A. (Director: Kirby Dick) — An investigative and powerfully emotional examination of the epidemic of rape of soldiers within the U.S. military, the institutions that cover up its existence and the profound personal and social consequences that arise from it.
Marina Abramović The Artist is Present / U.S.A. (Director: Matthew Akers) — Marina Abramović prepares for a major retrospective of her work at The Museum of Modern Art in New York hoping to finally silence four decades of skeptics who proclaim: ‘But why is this art?’
ME at the ZOO / U.S.A. (Directors: Chris Moukarbel, Valerie Veatch) — With 270 million hits to date, Chris Crocker, an uncanny young video blogger from small town Tennessee, is considered the Internet’s first rebel folk hero and at the same time one of its most controversial personalities.
The Other Dream Team / Lithuania, U.S.A. (Director: Marius Markevicius) — The 1992 Lithuanian National Basketball Team went from the clutches of Communism to the Summer Olympics in Barcelona – a testament to the powerful role of sports as a catalyst for cultural identity.
The Queen of Versailles / U.S.A. (Director: Lauren Greenfield) — Jackie and David were triumphantly constructing the biggest house in America – a sprawling, 90,000-square-foot palace inspired by Versailles – when their timeshare empire collapses and their house is foreclosed. Their rags-to-riches-to-rags story reveals the innate virtues and flaws of the American Dream. DAY ONE FILM
Slavery By Another Name / U.S.A. (Director: Sam Pollard) — As slavery came to an end with Abraham Lincoln’s Emancipation Proclamation, a new system of involuntary servitude took its place with shocking force, brutalizing, terrorizing and ultimately circumscribing the lives of hundreds of thousands of African Americans well into the 20th century.
Love Free or Die: How the Bishop of New Hampshire is Changing the World / U.S.A. (Director: Macky Alston) — One man whose two defining passions are in conflict: An openly gay bishop refuses to leave the Church or the man he loves.
We’re Not Broke / U.S.A. (Directors: Karin Hayes, Victoria Bruce) — As American lawmakers slash budgets and lay off employees, leaving many people scrambling to survive, multibillion-dollar corporations are concealing colossal profits overseas to avoid paying U.S. income tax. Fed-up Americans are taking their frustration to the streets.
WORLD CINEMA DRAMATIC COMPETITION
Fourteen films from emerging filmmaking talents offer fresh perspectives and inventive styles.
4 Suns / Czech Republic (Director and screenwriter: Bohdan Sláma) — Immature Fogi attempts to straighten up and accept his responsibilities as a new husband and father, as well as role model to his troubled son from a previous relationship, but finds himself unable to change his nature, leaving him to watch haplessly as his family begins to crumble. Cast: Jaroslav Plesl, Aňa Geislerová, Karel Roden, Jiří Mádl, Klára Melíšková. World Premiere
About the Pink Sky / Japan (Director and screenwriter: Keiichi Kobayashi) — A high school girl finds a wallet full of money and tracks down its owner, leading to unexpected consequences for the girl and her friends. Cast: Ai Ikeda, Ena Koshino, Reiko Fujiwara, Tsubasa Takayama, Hakusyu Togetsuan. International Premiere
Can / Turkey (Director and screenwriter: Rasit Celikezer) — A young married couple live happily in Istanbul, but their decision to illegally procure a child threatens their future together. Cast: Selen Ucer, Serdar Orcin, Berkan Demirbag, Erkan Avci. World Premiere
Father’s Chair (A Cadeira do Pai) / Brazil (Director: Luciano Moura, Screenwriters: Elena Soarez, Luciano Moura) — Following the trail of his runaway teen son, Theo confronts his own identity as a son, a father and a man along the way. Cast: Wagner Moura, Lima Duarte, Mariana Lima. World Premiere
L / Greece (Director: Babis Makridis, Screenwriters: Efthymis Filippou, Babis Makridis) — A man who lives in his car gets caught up in the undeclared war between motorcycle riders and car drivers. Cast: Aris Servetalis, Makis Papadimitriou, Lefteris Mathaios, Nota Tserniafski, Stavros Raptis. World Premiere
The Last Elvis (El Ultimo Elvis) / Argentina (Director: Armando Bo, Screenwriters: Nicolás Giacobone and Armando Bo) — A Buenos Aires Elvis impersonator who believes that he is the reincarnation of the King struggles to shake free from reality and live his musical dream. Cast: John McInerny, Griselda Siciliani, Margarita Lopez. World Premiere
Madrid, 1987 / Spain (Director and screenwriter: David Trueba) — The balance of power and desire constantly shifts during the meeting of an older journalist and a young student, of two generations completely foreign to one another. Cast: José Sacristán, María Valverde, Ramon Fontserè. International Premiere
My Brother the Devil / United Kingdom (Director and screenwriter: Sally El Hosaini) — A pair of British Arab brothers trying to get by in gangland London learn the extraordinary courage it takes to be yourself. Cast: James Floyd, Saïd Taghmaoui, Fady Elsayed. World Premiere
Teddy Bear / Denmark (Director: Mads Matthiesen, Screenwriters: Mads Matthiesen, Martin Pieter Zandvliet) — Dennis, a painfully shy 38-year-old bodybuilder who lives with his mother, sets off to Thailand in search of love. Cast: Kim Kold, Elsebeth Steentoft, Lamaiporn Sangmanee Hougaard, David Winters, Allan Mogensen. World Premiere
Valley of Saints / India, U.S.A. (Director and screenwriter: Musa Syeed) — Gulzar plans to run away from the war and poverty surrounding his village in Kashmir with his best friend, but a beautiful young woman researching the dying lake leads him to contemplate a different future Cast: Gulzar Ahmad Bhat, Mohammed Afzal Sofi, Neelofar Hamid. World Premiere
Violeta Went to Heaven (Violeta se Fue a Los Cielos) / Chile, Argentina, Brazil, Spain (Director: Andrés Wood, Screenwriters: Eliseo Altunaga, Rodrigo Bazaes, Guillermo Calderón, Andrés Wood) — A portrait of famed Chilean singer and folklorist Violeta Parra filled with her musical work, her memories, her loves and her hopes. Cast: Francisca Gavilán, Thomas Durand, Luis Machín, Gabriela Aguilera, Roberto Farías. International Premiere
Wish You Were Here / Australia (Director: Kieran Darcy-Smith, Screenwriters: Felicity Price, Kieran Darcy-Smith) — Four friends embark on a carefree holiday, but only three return home. Who knows what happened on that fateful night? Cast: Joel Edgerton, Teresa Palmer, Felicity Price, Antony Starr. World Premiere. DAY ONE FILM
WRONG / France (Director and screenwriter: Quentin Dupieux) — Dolph searches for his lost dog, but through encounters with a nympho pizza-delivery girl, a jogging neighbor seeking the absolute, and a mysterious righter of wrongs, he may eventually lose his mind… and his identity. Cast: Jack Plotnick, Eric Judor, Alexis Dziena, Steve Little, William Fichtner. World Premiere
Young & Wild / Chile (Director: Marialy Rivas, Screenwriters: Marialy Rivas, Camila Gutiérrez, Pedro Peirano) — 17-year-old Daniela, raised in the bosom of a strict Evangelical family and recently unmasked as a fornicator by her shocked parents, struggles to find her own path to spiritual harmony. Cast: Alicia Rodríguez, Aline Kuppenheim, María Gracia Omegna, Felipe Pinto. World Premiere
WORLD CINEMA DOCUMENTARY COMPETITION
Twelve documentaries by some of the most courageous and extraordinary filmmakers working today.
½ REVOLUTION / Denmark (Directors: Omar Shargawi, Karim El Hakim) — In January 2011, two filmmakers captured the reality of the Egyptian revolution as it occurred out of view from the world’s media in the alleyways and streets away from the square – and in the process were arrested by the secret police. North American Premiere
5 Broken Cameras / Palestine, Israel, France (Directors: Emad Burnat, Guy Davidi) — A Palestinian journalist chronicles his village’s resistance to a separation barrier being erected on their land and in the process captures his young son’s lens on the world. International Premiere
THE AMBASSADOR / Denmark (Director: Mads Brügger) — What happens when a very white European man buys his way into being a diplomat in one of Central Africa’s most failed nations? Welcome to the bizarre and hidden world of African diplomacy, where gin and tonics flow and diamond hustlers and corrupt politicians run free. North American Premiere
BIG BOYS GONE BANANAS!* / Sweden (Director: Fredrik Gertten) — The behind-the-scenes story of a full-scale attack on freedom of speech. When Dole set its sights on the WG Film production Bananas!* in May 2009, confusion was the method, aggression was the tactic and media control was the story. North American Premiere
China Heavyweight / Canada, China (Director: Yung Chang) — In central China, where a coach recruits poor rural teenagers and turns them into Western-style boxing champions, the top students face dramatic choices as they graduate – should they fight for the collective good or for themselves? A metaphor for the choices everyone in the New China faces now. World Premiere
Gypsy Davy / Israel, U.S.A., Spain (Director: Rachel Leah Jones) — How does a white boy with Alabama roots become a Flamenco guitarist in Andalusian boots? A tale of self-invention and the pursuit of happiness, regardless of the cost to others. International Premiere
The Imposter / United Kingdom (Director: Bart Layton) — In 1994 a 13-year-old boy disappears from his home in San Antonio, Texas. Three and a half years later he is found alive thousands of miles away in Spain with a shocking story of kidnap and torture. But all is not what it seems in this tale that is truly stranger than fiction. World Premiere
Indie Game: The Movie / Canada (Directors: Lisanne Pajot, James Swirsky) — Follow the dramatic journeys of indie game developers as they create games and release those works, and themselves, to the world. World Premiere
The Law in These Parts / Israel (Director: Ra’anan Alexandrowicz) — Israel’s 43-year military legal system in the Occupied Palestinian Territories unfolds through provocative interviews with the system’s architects and historical footage showing the enactment of these laws upon the Palestinian population. International Premiere
Payback / Canada (Director: Jennifer Baichwal) — Based on Margaret Atwood’s best-selling book, Payback explores how debt is a central organizing principle in our lives – influencing relationships, societies, governing structures and the very fate of this planet. World Premiere
Putin’s Kiss / Denmark (Director: Lise Birk Pedersen) — 19-year-old Marsha is a model spokesperson in a strongly nationalistic Russian youth movement that aims to protect the country from its enemies. When she starts recognizing the organization’s flaws, she must take a stand for or against it. North American Premiere
Searching for Sugar Man / Denmark, United Kingdom (Director: Malik Bendjelloul) — Rodriguez was the greatest ‘70s US rock icon who never was. Hailed as the greatest recording artist of his generation he disappeared into oblivion – rising again from the ashes in a completely different context many miles away. World Premiere. DAY ONE FILM
New ‘Man Of Steel’ Television Spot #6


What a surprise…a U.S. dramatic feature film state full of movies starring B list (or lower) actors with enough “recognition” to give a film some “legitimacy.” It’s a cliche. You can summarize a Sundance film using a simple Mad-libs style fill-in-the-blank.
TYPICAL USA SUNDANCE FILM SYNOPSIS:
“A (choose a Region of America: Mid-west, LA, NYC, etc.) slice-of-life (Comedy/Drama) that deals with (Race/Sex/Both) as the main character tries to navigate (Quirky/Serious) situations that will ultimately (affirm/shatter) the main-character’s (worldview/identity).
Starring: (Choose your 80′s or 90′s former Movie/TV star) AND (choose your favorite Sundance regular) AND (Choose that guy who’s name you can’t remember but when you look up his picture you like, “oh yeah! That guy.”) AND introducing (Insert name of someone who, literally, no one has ever heard of…but is probably also the write/director.) “
There’s nothing more tired and cliched than people complaining about Sundance selections. One thousand people have written this exact same post over the last 15 years. You are more boring than a Foreign Documentary.
The fact that it’s been done before doesn’t make it any less funny. And, the year-after-year ubiquity of this always-funny bit only serves to make the situation at Sundance that much more predictable and depressing.
@pepe — true. And thousands of others have had their films christened with the Sundance badge over the last two decades.
Quick – what were the narrative competition finalists of 1999? Of 2006? Which shorts won grand jury in 1994?
I thought so.
Don’t feel too bad. I am sure if your screenplay gets made it will be the original spark Sundance needs. If only you knew what it takes to make these movies. But hey, you are probably living it up with your filmmaking skills. I won’t judge.
@Surprise — Hilarious. I’d have to say another mad-lib exercise would be the filmmaker bios, where the cliche of the day would be — graduate of [ ] film school. Always fails to mention the 120K that most east coast film school grads are saddled with (also a cliche, I might add). Would be a hoot if I wasn’t one of them!
Seriously! I thought John Copper was supposed to “Shake things up” and make it so that this kind of thing stopped happening. What Happened Mr. Cooper?
Does he do anything? I thought it was all Trevor Groth picking films his friends make
word.
True. I find it funny that people who diss that statement can’t come to terms that the indies coming out of Sundance are cliche ridden and basically say the same thing, just with different actors.
It’s sad that Sundance is responsible for defining American independent cinema… and continuing to keep it on the same solemn note. Maybe someone should check out the medical/clinical history of these programmers to be sure their own depressing psyche’s aren’t influencing the landscape of ‘indie films’ in America. 16 films whose loglines feel sooo similar and as boring as the majority of Robert Redford’s films. I see minimal mystery or intrigue in any of the loglines above, but i do see a fraternity/sorority of producers who guard and foster a typical style that lack any new themes. Where is your energy indie America? ‘Look Again’ is the theme on their website…. Sundance should start taking their own advice.
Sundance has broken some good comedies over the years, but right now the world needs laughs – there’s enough depressing drama in real life.
@ yawn: that’s why I don’t limit my “what’s hot” for indie circuit to Sundance and look to smaller, regional film festivals. Usually the festival line ups there are less “brand” and have more thoughtful line ups than the usually emo-hipster crap.
You were expecting Transformers 3, I assume?
Ummm, haven’t you basically described life in general. That’s some snarky BS.
Sunday storylines nicely tick off the check boxes for political correctness and self-indulging whining, but don’t tickle the curiosity to watch the movies.
It’s the problem with institutions everybody wants to get into: soon all the submissions have a similar color as the cliche of this institution.
The Zelig effect.
(You don’t know what this is? Head over to the imdb database)
Sundance is a brand. They seek and program films that fit their well established vibe. They are not searching for new voices or styles or views or ideas. Good call @yawn… like a fraternity.
@yawn You’re the kind of person who thinks someday Disney will put out a Quentin Tarantino movie. Like froggy says, sundance is a brand with their own standard fare. Either you like that kind of film, Or you don’t.
@ pepe – Surprise surprise is not “complaining.” Where do you get that? He/She is essentially breaking down a fairly reliable empirical deconstruction of the festival’s history of selections.
What’s missing is that one needs to go back at the selections and see how many “alumni” are involved in the 16 slots. I don’t mean cast or directors , but the producers involved. Do you know anything about how programming works? I’ve done it. It’s putting projects in ears and then they get a leg up unseen.
There is nothing wrong with the festival. Any festival that gives a window for indie filmmakers to get their films distributed or simply seen is worthy.
The problem lies in the industry which limits its “best indie buy list” to Sundance and no place else in the US.
The proof is in the pudding. Let’s just strip away the marketing and gift bag machine and really look inwardly at last year’s films.
Another Earth? Sink.
Martha Mary Marcy Marlene? Great performance, but no Kiarostami (oh, you need to look him up).
Like Crazy? Much Ado About Something Cute but underwhelming (where’s Cassavetes…)
Gun Hill Road? Umm….earnest, but an “edgy” afterschool special
The Ledge? Oops, fail.
Homework? Ditto.
Circumstance? Meh…
Take Shelter? Excellent, bold, and resonant.
Higher Ground? Honest, well-done.
Pariah? I hope it lives up to the hype.
Sundance really and consistently scores well with the documentaries. And don’t get me wrong. Any time a competition film like Winter’s Bone is discovered, we are all truly blessed.
It’s a crapshoot, NOT the 16 best indies of the year. They are the 16 indies chosen by Sundance. No more, no less.
@ KOF: How about Toronto Film Festival (TIFF), Telluride? Granted Telluride isn’t as “big” as Sundance and TIFF is more or less used to see which films that are selected are Oscar “worthy.”
You are right, john, to a degree about TIFF and Telluride. The difference about Toronto and Telluride as festivals per se is that they are not limited to “newer” filmmakers (although Sundance will premiere “bigger” films out of competition).
For me the inherent problem with Sundance (and i’ve been attending it for over 12 years now) is that the audience is 90% industry and very little general public. Toronto is more made up of everyday moviegoers, as is even Tribeca, and SXSW. So, in a large sense, buzz starts to build on certain films and, since we know this IS a biz more of buying into hype than really looking at content subjectively, there is a high rate of films that flop coming out of Sundance.
What we should all hope for American indie film is that films will get “discovered” at other US fests and go on to do great to allow for more opportunities than squeezing into 30 or so slots at Sundance, “Sex, Lies, and Videotape” put that fest on the map. And rightly so. Fantastic film which launched a great filmmaker.
All I’m saying is I’m hoping for a wider net to find talent. Sundance, whether it cares to admit it or not, IS part of the closed door cronyism that it purports not to be. It IS the 1% of the film biz, so to speak.
If we are to see festivals as venues purely for the love of movies, then we’re better off at non-competitive venues like the New York Film Fest or New Directors/New Films which scout the earth for the gems found at festivals worldwide….
KOF, thanks for the response. Although the city I live in is not a major player in the industry like LA and NYC, or is home to a festival that is saturated with those in the industry, I feel that my city festival is more “grassroots” and does a more acute job when delivering and exposing films from various genres (although it does fall into the cliches that poster Surprise, Surprise mentions) and genuinely lives up the “International” part of its name.