The Sundance '12 Competition Films Announced!
One of these days, I’m going to the Sundance Film Festival. I’ve always wanted to see great movies without any hype or build-up to them, and Sundance is the first festival of the year that offers that. This year we got TAKE SHELTER, BELLFLOWER, THE WOMAN, MARTHA MARCY MAY MARLENE, THE GUARD, and ANOTHER EARTH, among others, and they all got their start at Sundance. Someday, I’ll hit that festival in force.
Today was announced the various films and documentaries that will play in competition this year, and many of them sound intriguing. We’re getting WRONG, the next film from Fantastic Fest favorite Quentin Dupieux (RUBBER), which alone has to be a must-see. We’re getting the awesome John Hawkes in THE SURROGATE, playing a young poet in an iron lung who wants to experience sex for the first time. Hawkes is an amazing actor and I’d bet that’s going to be one of the big films of the festival this year. Many great titles and interesting subjects in this year’s festival, it seems, and these are just the films playing in competition.
Many of the documentaries seem to be standouts as well – THE IMPOSTOR, INDIE GAME: THE MOVIE, and BIG BOYS GONE BANANAS! sound especially interesting in the international documentary competition, while the U.S. competition films seem mostly to be about the current economic climate. The international dramatic competition sounds great – L, in particular, sounds like something I’d enjoy, and WISH YOU WERE HERE has a great cast and an intriguing premise. The Sundance Film Festival takes place in Park City, Utah, January 19th through the 29th, 2012. Here are the titles:
U.S. DRAMATIC COMPETITION
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, Karen 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
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 ABRAMOVI? THE ARTIST IS PRESENT/ U.S.A. (Director: Matthew Akers) — Marina Abramovi? 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
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, A?a Geislerová, Karel Roden, Ji?í 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
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, Paybackexplores 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
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Nov. 30, 2011, 4:29 p.m. CST
As in Anton..R.I.P.
Nov. 30, 2011, 4:31 p.m. CST
To spell it correctly
Nov. 30, 2011, 4:32 p.m. CST
Nov. 30, 2011, 5:52 p.m. CST
by Paul Hanlin Jr
Just saying. Good on her :)
Nov. 30, 2011, 7:06 p.m. CST
Hey Nordling.. have you been to the new Sundance theater (the old Angelika) downtown yet? Saw Melancholia there.. only place in Houston to see it that I could find. And I'd heard that they were doing to do some sort of festival showing there. Have you been able to set up any screenings or events there through AICN yet? Talk to Redford, get something going!
Nov. 30, 2011, 7:12 p.m. CST
So many of these films could be summed up under the aegis of SMALL SCALE AMERICAN LOVE STORY I get that indie filmmaking is tough, especially on the wallet, but many of these films are populated by actors with some measure of visibility. Many are probably not true indies in the sense that they are small-studio-financed. And this is the best slate they could come up with? And as far as docs go, next year is shaping up to be the Year of Films about ECONOMIC UPHEAVAL, which I actually have no problem with. Docs are supposed to be timely or make timeless things feel that way. Come on Sundance, get your shit together. I'm not one of those people that would say they simply need more genre programming to make things more exciting. I'm just saying it usually takes someone VERY perceptive and usually rather accomplished to make SMALL SCALE DOMESTIC DRAMA/LOVE STORY escape tedium, mediocrity, twee-ness, etc.
Nov. 30, 2011, 8:13 p.m. CST
Tim & Eric & Neil Hamburger?!
Nov. 30, 2011, 8:18 p.m. CST
Dec. 1, 2011, 4:43 a.m. CST
by Baron Von Penguin
An absolute shitefest of films and docs I hope to Christ I never see. I could shit one of these indie flicks in my fuckin sleep. Two young lovers who've grown up in abusive families find each other through a love of heroin. One dies, the other carries on in unimaginative despair. Yada yada yada, the survivor eventually kicks the habit and becomes an artist or some such wank. Lots of shoe gazey indie guitar tracks, slow motion shots of the couple shooting up and/or making love, and the male lead must I repeat MUST be played by Joseph Gordon Levitt. FUCK OFF YOU PRETENTIOUS CUNTS!!!!!
Dec. 1, 2011, 10:02 a.m. CST
by Michael Lunney
Pop in your copy of Marmaduke and relax...
Dec. 1, 2011, 12:32 p.m. CST
...all of Nordling's 'articles' start the same way... ...just sayin'
Dec. 1, 2011, 11:28 p.m. CST
Indie filmmaking keeps finding new lows, I swear... more and more and more pretentious bullshit programmed by wannabe intellectual assholes running the big fests, and they keep scratching their heads wondering why nobody gives a fuck anymore. The only recent big success, Paranormal Activity, was only really programmed anywhere (and was rejected by Sundance) because some WM(?) agents saw it and championed it and then it took Spielberg, of all people, to see the potential. Before the last few years, festivals would have made that film visible FIRST, not AFTER the fact, when they need the film more than the film needs them. I've said it a trillion times on indie boards where I'm a pariah but apparently, big fests like Sundance wish to continue their march over the cliff... WHERE THE FUCK ARE THE PRIMERS, THE PiS, THE FOLLOWINGS, THE BRICKS... HELL, THE FUCKING BLAIR WITCH? THE CLERKS? The problem here is one of two things... 1) There simply are no more talented filmmakers coming up. This is funny in the age of cheap, beautiful, easy to acquire digital cinema... interestingly, as soon as cheap HD digitsl cinema came in, about the time of the Panasonic HVX200 (late 2005?), was the exact time that things went downhill. Is it analysis paralysis on the programmers end? Just too many films? 2) There's a problem with the programming/programmers. Guess which one I think it is. There's literally a brilliantly made, high end short film coming out every few weeks now on youtube and these people immediately are able to kickstart careers, maybe not as big time Hollywood directors (that guy that made The Raven came close, Neill Blomkamp actually did it), but they get their foot in the door, get an agent, and hopefully are able to procure a decent budget to make a GENRE feature. Of course, many of them also come from commercials. These people are intelligent enough to realize that making a good, entertaining, well crafted film means jackshit on the festival circuit unless you kiss a lot of ass, spend thousands on publicists and marketing, and have a 'name' at the festivals already. This translates to not really having a career in the sense that you get paid for what you do (works out well for trust fund kids from New York), but that doesn't seem to bother a lot of these filmmakers. It's like, "Is this a crowd you really care to impress?" What does it even mean to impress them? I don't even think they have a real opinion, just the opinion they THINK they should have. The problem, again, is that so many indie filmmakers have shunned making genre indies - look at almost every single breakthrough indie... they're all comedy, horror, scifi, or some variation of film noir. It's just the tried and true way to showcase your talent and craft and get an audience's attention with a low budget spin on familiar territory. For some reason, every fucking indie filmmaker out there on the festival circuit now seems to insist on making the most depressing, unrealistically dark bullshit, navel gazing, cliched garbage to ever grace the screen. Those that still want to actually have a career at this and have some sense of craft and storytelling say to themselves, "why bust your ass making a 90 minute feature shot on weekends over a period of a year like Nolan or Aronofsky did back in the day when you can sink $10k into a high end, polished sci-fi or horror short and just blast links everywhere?" Shorts have always been a way in, but I swear to god, if you go to an indie film publicist with your sci-fi short and tell them you don't care about making money back or festivals, you just want the right people to see it, THEY LOOK AT YOU LIKE YOU HAVE FIVE HEADS. I could go on about this forever (obviously, right?), but there's clearly a disconnect between filmmakers out there with genuine talent and the festival system. Go on boards like Truly Free Film and witness some of the epic arguments from the filmmakers out there with the gatekeepers of the big festival system... nothing but cognitive dissonance. So most people say fuck it and just go shoot Pixels, or The Raven, or Mama, or The Right Hook. Or they set up a youtube channel and make entertaining visual effects-laden videos like that FreddieW guy... some of them actually make a good living off of it. Ok, rant over. Fuck the dance.
Dec. 2, 2011, 3:24 p.m. CST
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