Is Sundance Leaving Park City? Filmmakers Fear for Festival’s Future!

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Cole Webley, hailing from Salt Lake City, has harbored a dream for decades: screening one of his movies at Park City. A native Utahn, he’s been attending the Sundance Film Festival for close to two decades, standing in long queues as snowflakes swirled around him, braving the cold with anticipation of discovering an exciting new film. He had even attempted, unsuccessfully, to enter five of his short films into competition.

Webley admits he was deeply drawn to the festival, and it surpassed all his expectations,” or simply, “He felt a strong connection to the festival, and it exceeded everything he’d dreamed of.

This year, Webley’s long-awaited dream comes true as “Omaha,” a drama revolving around a father facing hardships and embarking on a transcontinental journey with his daughters, is set to premiere on the opening day of Sundance. The film holds significant importance for him beyond its debut, as it was primarily filmed in Utah using a local crew, thereby creating a strong regional bond between the movie and the place where it will initially be screened. Despite Webley eagerly anticipating the arrival of friends and family during the fortnight of independent film showcase, he is simultaneously concerned about Sundance potentially leaving the state that has been its home for close to half a century.

Webley foresees a significant blow for Utah. He believes that the Utah Film Commission should not ignore this situation, as once lost, it’s unlikely to return.”

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“According to Webley, Utah is in for some serious trouble. He thinks the Utah Film Commission ought to act swiftly on this matter since what’s gone tends not to come back.

However, it’s possible that Sundance has been pondering the idea of renting a U-Haul truck, given that the festival expressed interest in 2024 about relocating to another state when its contract with Park City ends in 2027. This means that the 2025 festival could be one of the last ones held in Utah. Last autumn, Sundance stated that they would choose their new location from among three finalist cities.

Salt Lake City is one of the contenders, but if it wins, Sundance may not be as prominent in Park City anymore since it has outgrown the small ski resort. It seems that one of the other two finalists, Boulder or Cincinnati, is more likely to secure the bid. This possible relocation has left many filmmakers, agents, and studio executives pondering about what the move could mean for Sundance’s unique identity, as so much of its charm comes from its quaint small-town atmosphere.

Lawrence Inglee, a film producer known for launching five films at Sundance, such as “The Messenger,” an Oscar-nominated war drama, and “Swiss Army Man,” which introduced the feature debuts of Daniel Scheinert and Daniel Kwan from “Everything Everywhere All at Once” team, notes that the appreciation of art-house cinema is now often associated with the fresh mountain air and snowy landscapes of Park City.

He remarks that it’s challenging to envision them being apart,” he says. “The entire sensation – the winter solitude, trekking through frosty streets with snow-capped mountains in the background – is deeply intertwined with what makes it so unique and enchanting. It’s difficult to conceive of another location that can stir up those feelings.

However, there are those who argue that maintaining Sundance in Park City is no longer feasible. Initially a peaceful retreat, the town has transformed into an exclusive vacation spot for wealthy individuals who dislike the traffic and crowds associated with the festival. The cost of accommodating studio executives, journalists, and even filmmakers in housing has skyrocketed to unaffordable levels. During Sundance’s peak season, hotel rooms in Park City can go as high as $2,000 per night. Even the festival, which benefits from its ties with the town, must pay an average of $800 per night for accommodations. The escalating costs have become a significant hurdle for aspiring directors and film enthusiasts who wish to immerse themselves in Sundance’s rebellious spirit.

Tom Bernard, co-founder of Sony Pictures Classics, comments that the younger generation, who’ve significantly contributed to making Sundance what it is, can no longer reside there due to high costs, which have driven away their audience,” he says. “We too are grappling with budget constraints and have difficult choices to make regarding staff assignments. It seems we must relocate to a more affordable location.

Long-time attendees express concern that Sundance has transitioned into a commercialized event due to its prolonged presence at the same location for 50 years. Initially, what Robert Redford established in 1978 as an innovative and unconventional festival has evolved into a platform where automakers, clothing brands, and financial institutions host events and offer gifts, focusing more on courting celebrities than fostering filmmaking.

Jennifer Sutherland, proprietor of Land Juicery, comments on the noticeable change in Sundance: “Sundance once pulsed with an artistic vitality that extended beyond its films. Now, it seems to have been overshadowed by police presence and regulations.” She attributes this shift to Sundance’s longstanding presence in the area, expressing a need for renewal if it is to persist.

Just like the Sundance Film Festival, which has faced challenges due to COVID and the retirement of Robert Redford (now 88), who previously played a significant role, the independent film industry has also experienced turbulence. The pre-pandemic vibrancy of art-house cinema hasn’t been fully recovered, as streaming services have grown in popularity and traditional cinemas have struggled to attract audiences. Despite Netflix, Apple, and other big investors still offering substantial amounts for a select few festival premieres, many films struggle to find distribution long after Sundance concludes. Struggling indie studios, which depend on cinema attendance to generate income, are experiencing narrowing profit margins as they wait for a potential revival in moviegoing that might never occur.

Kent Sanderson, president of Bleecker Street, admits that he wouldn’t be telling the truth if he claimed this was the most powerful period in indie film history. He describes the market as relatively sluggish, with some Toronto-produced films failing to find buyers. There are fewer domestic purchasers and less streaming service activity at the moment.

For many years, John Sloss, the creator of Cinetic Media, has graced Sundance with his presence, utilizing the event as a platform to exhibit films he’s produced or put together, including “Boyhood” and “Napoleon Dynamite.” Similar to Bernard, he feels that Sundance should aim for the best possible deal – either subsidies or tax breaks – when selecting its future location. He’s not concerned that the festival’s charm might diminish if it were to move from Utah.

According to Sloss, what makes Sundance unique is its role as a platform for exploration. It’s not just the top American film festival; it transcends location because it’s defined by a community and a spirit. Essentially, the essence of Sundance can be found anywhere, and people will flock to it.

On numerous occasions, producer Erik Feig has made his way back to Sundance. In recent years, he’s premiered and sold films such as “Cha Cha Real Smooth” (2022) and “Theater Camp” (2023). He finds that hosting the event in a more condensed space makes it simpler to move around compared to festivals like South by Southwest or Toronto, which are held in sprawling urban areas.

Feig expresses his concern about Park City potentially relocating, stating it provides significant worth and he finds the notion disheartening. He’s set to return this year with the horror-thriller “Together,” starring Dave Franco and Alison Brie. For him, Park City isn’t a bustling city like Toronto; instead, its single Main Street and the hill you walk up and down create shared experiences. Plus, having several nearby theaters lets one catch various films easily. He recalls numerous instances where he watched as many as eight movies daily, and he can hardly envision doing so if he had to commute.

The Egyptian Theatre, a venue famous for premiering numerous Sundance classics, is often a popular destination during festivals. As Randy Barton, the theatre’s manager, puts it, “We’re similar to Radio City Music Hall in Park City.” He continues, “Our marquee is frequently captured in photos, and we take great pride in that fact.

He points out that numerous local businesses consider the festival as a “money-making machine,” but from a financial standpoint, he’s unperturbed by any possible relocation plans.

I understand that losing a significant artistic event would certainly be disappointing,” I acknowledge. “However, rest assured, our town and theater are resilient. We’d simply adapt by filling those weeks with alternative programming instead.

Most Egyptian happenings mainly consist of concerts, stand-up comedy performances, and live plays. However, Barton concedes that he would be sad to see fewer cinephiles around.

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Egyptian gatherings are mostly about music concerts, comedy shows, and theater productions. Yet, Barton acknowledges his disappointment over the decline in film enthusiasts.

He notes that he’s on stage all year round, presenting various shows. He often reminds the audience that we’ve been hosting this festival since 1981, and our aim is to continue being the home of Sundance for another 50 years. This statement always garners applause.

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2025-01-23 00:17