Movies

At this year’s Sundance Film Festival, disconnection reigns and rabbits rule

BBG News

Nine months have passed since the Sundance Film Festival hinted at the possibility of relocating, starting from 2027. This prospect leaves some long-time festival-goers feeling as though they’ve been hit by a surprise snowball. Navigating Park City is much like learning to juggle – it’s steep initially, but once you learn whether to catch the shuttle or walk, locate the most comfortable seats at the Library Center Theatre, and discover that the sushi near the Holiday Village Cinemas is surprisingly good, everything falls into place. But are Sundance enthusiasts truly expected to start anew in Cincinnati?

Movies

Three cities – Boulder, Cincinnati, and a joint bid from Salt Lake City and Park City – are vying to host the upcoming Sundance Film Festival. Let’s take a look at each city’s proposal:

1. Boulder is highlighting its vibrant arts scene, cultural diversity, and unique mountain setting as key factors in making it an ideal location for the festival.
2. Cincinnati is emphasizing its rich film history, central location, and state-of-the-art venues as strong selling points for hosting Sundance.
3. The combined bid from Salt Lake City and Park City is focusing on their proven track record of successfully hosting the festival in the past, along with their continued commitment to supporting independent filmmakers.

It seems like an unusual sense of longing for home might be in the atmosphere, but the initial movies I’ve watched this year have a recurring motif: characters finding themselves as outsiders in foreign lands. For instance, consider Evan Twohy’s “Bubble & Squeak,” where the newlywed couple Declan (played by Hamish Patel) and Delores (Sarah Goldberg), Americans by birth, travel to a fictitious nation that was once ravaged by war for an economical honeymoon. Nowadays, cabbages are outlawed in this country, and the punishment for smuggling them is public execution. However, Delores has secretly carried more than a dozen cabbages because she doesn’t feel bound to follow another culture’s regulations.

The careless attitude of a woman causes a couple to flee from a stern customs officer (Steven Yeun) and his notorious boss, Shazbor (Matt Berry), who is infamous for amputating the fingers of criminals. This duo has a strict no-tolerance policy towards cabbages. The viewers need to stay alert as frequent mentions of cabbages might lead to an emergency room visit before the end of the initial act. A memorable scene features Declan and Delores narrating their romantic tale using vegetables, which is currently my top pick among this year’s festival offerings.

In an unexpected twist, Twohy’s sardonic style infuses this comedy with an eerie resemblance to “Midsommar,” devoid of the distress. However, as the pair attempts their border escape, tensions within their newlywed union surface prominently, particularly when Dave Franco materializes as a fellow runaway, masquerading as a bear. The locals are vibrant and absurd, yet the film’s focus is on the exploitation of disaster-themed tourism. (I’ll gladly take on that criticism, having once indulged in sightseeing at Chernobyl and returning home with a keepsake T-shirt.)

Later, director Justin Lin came back to Sundance with “Last Days,” a dramatic retelling based on the true-life incident where travel turned fatal and became a profound allegory. In 2018, John Allen Chau, an American aged 26, lost his life when he secretly navigated from Port Blair, India, to the secluded North Sentinel Islands. His aim was to share the Bible with the isolated tribe residing there. However, they showed no response. Chau (portrayed by Sky Yang) has been referred to as a martyr, hero, and fool – opinions you’ll encounter before the end of the opening credits.

Initially, Lin made his mark in the film industry with the indie heist movie “Better Luck Tomorrow” at Sundance 2002, followed by directing five successful installments of the “Fast & Furious” series. However, this review finds a middle ground that doesn’t quite work: The modest storyline struggles to match the film’s lavish visuals. “Last Days” only subtly touches on religious themes or piety. Instead, it unfolds as an adrenaline-fueled action movie about a naive boy who underestimates the danger he’s in. When Chau encounters two adventurous Christians (Toby Wallace and Ciara Bravo) in Kurdistan, the mood is less somber like “The Passion of the Christ” and more reminiscent of “Point Break.” The cinematography of his travels is breathtakingly beautiful yet undermines the movie. We’re left reflecting on the life that was tragically cut short, but are more struck by all the fascinating places he visited.

Titled “Rabbit Trap,” Bryn Chainey’s first film, tells the story of London duo Darcy and Daphne (portrayed by Dev Patel and Rosy McEwen), who venture into rural Wales to create an avant-garde noise album in the 1970s. Daphne’s previous album cover featured her resembling Ziggy Stardust. Intrigued by the unique sounds of this strange terrain – bird flocks soaring, damp moss squelching, water dripping from an old stone wall – they find themselves confronted by a mysterious woman (Jade Croot) holding a freshly caught rabbit at their doorstep. City dwellers like them will soon come to understand the local legends.

Twice I’ve watched “Rabbit Trap,” and each viewing left me immersed in every moment. The quality of the filmmaking is exceptional. However, if you asked me to articulate how all the scenes coalesce into a narrative, I would be at a loss for words, much like Darcy during his nightly nightmares. Yet, I can describe it as the most optimistic cultural-clash movie I’ve seen at Sundance thus far. Unlike other outsiders who come to mock and avoid, or force their way in to convert, these characters learn to harmonize with the local language in a beautiful, ethereal melody.

Katarina Zhu’s “Bunnylovr” revolves around a talented pet rabbit, making one wonder if there’s an illusionist in the snowy landscape conjuring them up. The generous donor is Austin Amelio, a Pennsylvania man with a predilection for furry creatures, while the recipient is Rebecca (Zhu), a struggling New York City cam girl who’s so engrossed in pleasing him that she neglects her own desires. When her online benefactor requests her to hold the rabbit by its ears during his intimate moments, she lacks the courage to refuse. A word of caution: You might hear the rabbit squeal with distress.

Despite Rebecca being unclear and puzzling, Zhu skillfully gives the character a tangible presence. This first-time filmmaker has sculpted a figure out of fog. Rachel Sennott, portraying Rebecca’s bossy friend, expresses her frustration at not being able to connect intimately with her. However, as we watch, we find ourselves growing attached to Rebecca – so much so that when she decides to meet her admirer in person, we feel the urge to jump into the screen and protect her.

The same situation is repeated in Rachel Fleit’s documentary “Sugar Babies,” where a cam girl ventures into the woods for a meeting with a paying client. The movie chronicles the life of this teenager over several years as she uses online interactions to pay for her college education. She is both intelligent and cunningly manipulative, having graduated from high school at 16 – she’s no fool. In her thick, endearing accent, she refers to herself as a “sugar baby without the sugar,” meaning one who promises to avoid real-life dates until she turns 25. However, she eventually breaks this self-imposed rule.

The movie might evoke the sensation of hearing an energetic and constantly internet-connected TikTok user, particularly a young one from Louisiana, passionately discussing her aspirations for amassing wealth and escaping the state. However, Autumn’s journey out of town becomes reminiscent of Sisyphus’ eternal task. Despite having cellphones to connect with the world beyond, it seems daunting for her to actually reach that destination.

2021’s festival seems to embrace a less technologically connected feel, with both virtual and physical environments playing significant roles. Compared to 2020, there are three fewer Park City theaters in operation as Sundance provides the convenience of streaming movies online for attendees. Those cozied up at home might find an added thrill in hitting “play” on Albert Birney’s “OBEX,” a quirky, low-fi art-house film shown in black and white. This movie, featuring unexpected shots like that of a chicken, is typical of its genre.

The film “OBEX” revolves around a character reminiscent of today’s society – a screen-addicted recluse named Conor (Birney). Interestingly, the story unfolds in 1987, with Conor interacting with ASCII art and singing Gary Numan on his Macintosh 128K. An unexpected event occurs when he loads a game featuring a demon that swallows his cherished pet, Sandy, through the screen. As Conor ventures into the game to rescue his dog, his isolated life begins to broaden. Although the pacing of the film can be leisurely, I found its creativity intriguing as it oscillated between people and pixels, and sent a chill down my spine when Conor uttered, “Perhaps one day we’ll all live in computers – even dogs.

Definitely computers. Maybe even in Cincinnati — if only for a week of indie movies.

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2025-01-27 22:02

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