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A relocated Slamdance Film Festival launches its first edition in Los Angeles

BBG News

2021 marks the kickoff of the Slamdance Film Festival, happening this Thursday, and for the first time ever, it’s being held in Los Angeles. Although its headquarters have been here for quite some time, the festival itself had previously been hosted in Park City, Utah, simultaneously with the Sundance Film Festival.

As a passionate cinephile, I’m thrilled about the continuation of our journey, unearthing fresh talent and pushing the boundaries of filmmaking. The move, announced last April, doesn’t just signal business as usual, but also presents an opportunity for our organization to expand and flourish in new directions. Just like a rising tide lifts all ships, this change can elevate the entire landscape of independent filmmaking.

As a movie enthusiast penning my thoughts after attending this year’s Slamdance Film Festival, I feel compelled to share some insights about its unique origins and vibrant community. Back in 1995, a band of filmmakers, who were previously turned away by Sundance, decided to create their own platform—Slamdance. It quickly carved out its niche as a creative hub where artists could collaborate and thrive independently.

What sets Slamdance apart is the fact that the programming for the festival is curated by its very own alumni. This ensures a continuous flow of fresh, innovative ideas and perspectives. Some of today’s most celebrated filmmakers got their start right here at Slamdance—talents like Christopher Nolan, Sean Baker, Rian Johnson, Lynn Shelton, Lena Dunham, Joe and Anthony Russo, Bong Joon Ho, and Gina Prince-Bythewood.

Experiencing the energy of this festival firsthand is a testament to its enduring impact on the film industry.

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We’ve returned to Main Street capturing the individuals – actors, authors, directors, and influencers – who are driving the cultural discussion. Don’t miss our stunning portraits in our Sundance gallery!

In a conversation with Baxter earlier this week, festival director Taylor Miller said, “The old saying goes ‘It’s not the location, it’s the company.’ However, in light of the recent Los Angeles wildfires, I believe this sentiment holds more weight than ever before. It seems particularly important now for people to come together, and I can’t think of a better place for that to happen.

At Hollywood’s Egyptian Theatre, the festival’s opening night will feature “Out of Plain Sight,” a documentary directed by Daniel Straub and Rosanna Xia. This film is co-produced by L.A. Times Studios, an affiliate of the Los Angeles Times, for which Xia was a Pulitzer Prize finalist due to her reporting on DDT waste dumping in Southern California’s coastal waters. The movie recently earned the audience award at the Santa Barbara International Film Festival and is also sponsored by L.A. Times Studios, which supports Slamdance.

Other documentaries in the program related to Los Angeles feature:

1. “40 Watts From Nowhere” by Sue Carpenter, which delves into the world of pirate radio stations.
2. Matthew Siretta’s “DeBarge,” offering insights into the post-fame journey of the Debarge family, renowned musicians who gained popularity in the ’80s with their hit “Rhythm of the Night.”
3. “Coroner to the Stars” by Ben Hethcoat and Keita Ideno, focusing on Dr. Thomas Noguchi, a well-known L.A. County Medical Examiner.
4. David Markey’s “The Secret Lives of Bill Bartell,” a portrait of a mysterious and intriguing figure from the local punk scene.

As a film enthusiast, it’s only fitting that I debut this documentary at Slamdance – a festival known for its daring and independent spirit, reminiscent of Dr. Noguchi himself. The irony of the ‘Coroner to the Stars’ walking his own Hollywood red carpet isn’t lost on me; it’s a surreal twist that adds an extra layer of intrigue to this already compelling story.

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Originally established by filmmakers who were turned down by Sundance, Slamdance is now breaking free from the influence of Park City, choosing to move to Los Angeles and set its dates in February.

At Slamdance, the in-person event will run until February 26th. From February 24th to March 7th, a virtual program can be accessed online at slamdancechannel.com. The Egyptian Theatre is one of the locations, but some events will also occur at the Directors Guild Theater Complex and Landmark Sunset. Most of the festival’s screenings and activities, however, will take place at Quixote Studios in West Hollywood.

Ever since it was revealed last year that the festival would be relocated, there’s been an enthusiastic reception within the Slamdance community towards the prospect of hosting the event in Los Angeles.

Miller exclaimed that each response was warm and enthusiastic, something like “Let’s do it!” He also mentioned that another fantastic aspect was how many individuals expressed, “I’ve never had the chance before, but now I can go.

When it comes to planning every aspect of Slamdance Festival, such as ticket prices, content selection, and venue choices, the organizers strive to thoughtfully address issues related to accessibility. Notably, they prioritize their Unstoppable program, which highlights films created by filmmakers with both visible and non-visible disabilities.

This year’s lineup features some unmissable films, such as “Racewalkers,” a sports comedy by Phil Moniz and Kevin Claydon; “Complicated,” Andrew Abrahams’ exploration into pediatric healthcare; Cameron S. Mitchell’s historical investigative documentary titled “Disposable Humanity”; and “My Own Normal” by Alexander Freeman, which offers a personal insight into his life with cerebral palsy.

Among the program’s many captivating offerings, I found Rory Mitchell’s “The Tent” particularly intriguing. This gem is showcased within the Digital, Interactive and Gaming Program (DIG). Additionally, Woody Bess’ chilling tale, “Portal to Hell,” and Richard Hunter’s dark comedy, “Foul Evil Deeds,” are not to be missed. These exceptional productions promise an unforgettable experience!

Title Analysis: Madeleine Farley’s film “Fist Bump” delves into disability and social equality movements, whereas Elijah Sullivan’s movie “The Hole Story” examines the repercussions of a 60-foot chasm found on Mount Shasta.

1. Erica Xia-Hou’s novel “Banr” explores an elderly couple dealing with one partner’s battles against Alzheimer’s.

2. In Ntare Guma Mbaho Mwine’s documentary “Memories of Love Returned,” acclaimed director Steven Soderbergh is one of the producers, focusing on Ugandan photographer Kibaate Aloysius Ssalongo.

3. Edson Jean’s film “Know Me” showcases the filmmaker himself in a narrative about a man working to exonerate his brother’s name.

The festival is shifting to a new location, coinciding with what appears to be a major transformation within the related field.

According to Baxter, there’s a lot of change happening in both the entertainment and media industries currently. However, if we examine the submissions for Slamdance and the enthusiasm and responses we’re receiving, creativity from independent filmmakers, particularly in L.A., seems very tangible or noticeable.

He mentioned that the upcoming days will reveal what transpires. Taylor and I shared a chuckle over it; we wondered if we’d only have one spectator. However, we’ve put a lot of effort into uniting the L.A. film community. Not only did filmmakers respond with great enthusiasm, but also, our efforts resonated significantly with our collaborators and sponsors who were eager to join us in our venture. They saw in us an opportunity to voice their own initiatives.

Miller emphasized that they are fully aware of the significance of what they’re doing, as this city hasn’t hosted a film festival before. They’re determined to make it successful on every aspect and their commitment should not be misunderstood. It’s all about the community, for the community.

As an ardent supporter, I’m thrilled to see the Slamdance Film Festival’s new location and venues, coupled with a refreshed vision, propelling them into the future. This renewed sense of purpose they carry isn’t just about their event; it extends to the broader realm of independent filmmaking as well, making me even more excited for what lies ahead.

Baxter stated that while most festivals primarily emphasize films and filmmakers, our focus extends beyond that. We aim to cultivate and strengthen the environment for future generations in the industry, not just during the festival in L.A., but all year round in this city as well.

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2025-02-20 14:31

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