Movies

Sundance hopes to unify film lovers at a moment of turmoil and relocation

BBG News

The 2025 timeframe already seems overwhelming, but consider the task at hand for this year’s Sundance Film Festival: organizing an event to gather thousands under one roof for 11 days, with a focus on independent cinema. This is the daunting challenge that lies ahead as the festival commences on Thursday and continues through February 2.

The 42nd edition of Sundance is underway, inviting filmmakers, media, Hollywood industry professionals, and viewers to leave their current circumstances behind for Park City, Utah. Amidst a presidential inauguration, political shift, and ongoing wildfires in Los Angeles, this event offers an impressive lineup of 88 feature films as a potential source of order, comfort, and respite during these challenging times.

As a passionate cinephile, I find myself expressing similar sentiments as Eugene Hernandez, the festival director. This year’s event arrives at a time when I believe it is more vital than ever. In my recent conversations with filmmakers, industry professionals, audience members, and staff who have been severely impacted in the past week, I’ve heard countless stories of loss. However, despite their hardships, they all emphasize the importance of this festival at this very moment. They yearn for unity within our community and a chance to move forward together.

Several movies in this year’s lineup have a surprising relevance that organizers didn’t foresee when they were chosen. One such film is “Rebuilding” directed by Max Walker-Silverman, where Josh O’Connor plays a man rebuilding his life after a wildfire. Additionally, the documentary “Free Leonard Peltier,” jointly directed by Jesse Short Bull and David France, tells the story of Native American activist Leonard Peltier who, after spending nearly 50 years in prison, had his sentence commuted to home confinement by outgoing President Biden in one of his final acts.

In the coming springtime, the festival will make public its choice regarding the city it will be held in for the 2027 edition. This could mean that it may continue in Utah with a unified Salt Lake City/Park City area or transfer entirely to Boulder, Colorado, or Cincinnati.

Regardless of the circumstances, Sundance will continue as a hub for exploration, nurturing emerging talents and unique creative expressions.

Movies

For the approaching edition, the lineup features movies that spotlight performances by Rachel Sennott, Chloë Sevigny, and Steven Yeun. Additionally, it includes films directed by Ahmir “Questlove” Thompson and Ira Sachs.

This week, Mary Bronstein debuts her first film at the festival with “If I Had Legs I’d Kick You,” a captivating, nerve-wracking depiction of a woman struggling to balance work and family life, particularly caring for an unwell child. The movie may draw parallels to contemporary films like Marielle Heller’s production “Nightbitch” and Miranda July’s book “All Fours,” which also explore motherhood in fresh ways. Starring Rose Byrne, ASAP Rocky, and Conan O’Brien (making his first major film appearance), the movie is set for release by A24 later this year.

Previously, Bronstein’s sole feature film, “Yeast,” which she financed herself and debuted at the 2008 South by Southwest Film Festival, brings excitement as her latest creation will be premiered at Sundance.

Bronstein stated, “It’s almost like the first dwelling for independent films, films created outside the studio system, or what we call art films, found their refuge here.” He continued, “Unfortunately, such spaces are becoming increasingly rare. Nevertheless, I firmly believe that Sundance continues to embody that essence. My film and the ones I aspire to create in the future require just such a supportive environment.

As a devoted cinephile, I’ve had the privilege of immersing myself in the profoundly moving journey that is “If I Had Legs,” a labor of love spanning an impressive seven years from script to screen. From the perspective of Linda, Byrne’s resilient protagonist, we delve deep into her world, where the mounting pressures of caring for her daughter seem to be pushing her towards some form of psychological breakdown. The film’s unflinching, occasionally abrasive style is certain to stir intense emotions among viewers, reflecting the raw and gritty reality that Linda faces daily.

Bronstein expresses his enthusiasm about being on stage among an audience who’ve just seen a movie, absorbing their collective energy, and engaging with their questions and opinions.

Following its debut, it no longer belongs to me – yet, I can’t help but feel a mix of apprehension and exhilaration as the release date approaches. The anticipation is palpable; I’m eagerly looking forward to immersing myself in the electric atmosphere that only a movie premiere can provide.

This year, we have several filmmakers making a return to the festival. Bill Condon brings “Kiss of the Spider Woman,” Ira Sachs presents “Peter Hujar’s Day,” Ahmir “Questlove” Thompson offers “Sly Lives! (a.k.a. The Burden of Black Genius),” Cherien Dabis shares “All That’s Left of You,” Justin Lin delivers “Last Days,” Amalia Ulman introduces “Magic Farm,” Matt Wolf is responsible for “Pee-wee Herman as Himself,” and Andrew Ahn contributes “The Wedding Banquet.

I’m about to be part of a project that revisits a beloved 1993 romantic comedy directed by Ang Lee, but with a fresh take – it’s being called a “reimagining.” Collaborating on the screenplay for this endeavor is Min-ho Ahn and James Schamus, who also worked together on the original film. Excitingly, Bleecker Street will be releasing our movie in the upcoming spring season.

In 2016, Ahn premiered his first feature film “Spa Night” at Sundance, an experience he’s thankful to repeat by presenting another feature at the festival this time around.

Ahn expresses gratitude towards Sundance, stating that it played a crucial role in launching his career. He attributes getting his agents through the festival and acknowledges how instrumental it was in enabling him to establish a career as a filmmaker focusing on Asian American stories. At this point in his life, he couldn’t be more content with his achievements. Sundance holds significant importance for him.

The focus of this update is on two pairs, Angela and Lee (Kelly Marie Tran and Lily Gladstone) as well as Chris and Min (Bowen Yang and Han Gi-chan). They devise a plan to potentially address several issues: Angela marries Min in a traditional Korean wedding to obtain funds for fertility treatments, while Min receives a green card and alleviates the expectations of his traditional family. Joan Chen and Academy Award winner Yuh-Jung Youn are also part of the ensemble cast.

As a movie enthusiast, I can’t help but confess that, to my knowledge, Lee hasn’t caught the latest flick just yet. Yet, it’s his opinion I tremble at the thought of, for he stands as the viewer I dread the most.

Among several projects such as “Bunnylovr” by Katarina Zhu, “Dead Lover” by Grace Glowicki, “Sorry, Baby” by Eva Victor, and “Hal & Harper” by Cooper Raiff, there are those where the writer, director, and star converge. This three-in-one talent combination has been a recurring theme at Sundance since the early days, starting with Wendell B. Harris Jr.’s “Chameleon Street” in 1990 and Kevin Smith’s “Clerks” in 1994.

In “Twinless,” Dylan O’Brien stars alongside two solitary individuals who form an unexpected bond in a support group for people who have lost their twin. This is Sweeney’s second feature film, but it’s the first to be screened at Sundance; although he had visited Park City years ago for a ski trip and took a peek at some local cinemas, hoping that one day his own movie might play there.

Sweeney mentions that he tends to keep his expectations modest because, as he puts it, good timing hasn’t always been on his side. He points out that his initial film “Straight Up” premiered in movie theaters in February 2020, which was right before the pandemic began, and the production of his subsequent project “Twinless” was postponed due to the Hollywood strikes in 2023.

He expresses his eagerness as well, eagerly anticipating the movie screening among a crowd. He’s hoping for a strong, physical response from the audience, given that it’s a comedy.

2017’s festival featured a women’s demonstration opposing Donald Trump’s first presidency inauguration, and last year witnessed a pro-Palestinian protest on Park City’s Main Street. Another Palestine-focused protest has been announced; it’s yet to be determined if additional protests will happen this year. For festival organizers, these types of events blend seamlessly into the broader festival atmosphere without taking away from the main event’s essence.

According to Hernandez, watching films at any film festival, including Sundance, is indeed a significant part of the overall experience. However, it’s all the additional events and activities that take place during the festival week that truly define it as a festival – think panels, social gatherings, spontaneous discussions over meals, and unexpected events inspired by current world events or our program.

Hernandez adds, “Sundance takes place at the beginning of each new year, when everyone returns to work after the holidays. It’s fitting that we can gather people in person there. While those who view films or talks online from home get a glimpse of this, the real charm of the festival lies in being together physically, even if it’s just for a few days.

Movies like “A Different Man,” “A Real Pain,” “Dìdi,” “Union,” and “Sugarcane,” along with others that debuted at the 2024 festival, continue to be a part of the awards discussion a full year later. For many directors, just having their work featured at the festival is a satisfying acknowledgement in itself.

Bronstein expressed that being invited by Sundance made it clear to him that he has a space, his unique voice matters, and his work is valued. He’s determined to continue moving ahead.

Sweeney shares, “I’ve been following Sundance films and the careers of its filmmakers ever since my days in film school. I believe there will be another aspiring filmmaker who will see my work make it into Sundance someday. This feeling of being connected to a legacy is incredibly affirming for me. What excites me most, though, is the opportunity to connect with other filmmakers.

As we eagerly await the unveiling of the next host city, time is running out for an event that many are familiar with – yet the extraordinary qualities that set this festival apart stretch far beyond the snow-capped borders of Park City.

Ahn expressed, “It’s incredibly meaningful to return to Sundance before it sets off to its next destination. However, I’ve learned that the essence of Sundance isn’t confined to a specific location, but resides within its community. Therefore, I am confident that wherever it moves, we will still experience that enchanting atmosphere filled with creativity and energy. Ultimately, the location doesn’t matter much to me, as long as it fosters an environment for celebrating independent film.

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2025-01-22 22:31

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