The Best and Meh-st of a Dud Year at Sundance

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Recently, a variety of film industry professionals – actors, directors, scriptwriters, documentarians, distributors, even some team members from Vulture – converged on Park City for the 41st Sundance Film Festival. The festival is said to be moving locations next year, potentially to Salt Lake City, Cincinnati, or Boulder, which has left a subdued, sentimental excitement among attendees. Some speculated that this year’s premieres and screenings were not as strong, or perhaps the festival had lost some of its luster. However, a few outstanding films were discovered amidst the submissions.

I’m usually not one to criticize a Sundance Film Festival year, but this time around, I find myself in the uncomfortable position of agreeing with many others: This has been a disappointing Sundance year. The highly anticipated films, which often attract the most attention due to their star-studded casts or renowned directors, have largely fallen flat. From the misfires like “Opus,” “The Thing With Feathers,” and “Rabbit Trap” in the genre category, to the confounding idiocy of “Bubble & Squeak,” and the mediocre indie returns of “Kiss of the Spider Woman” and “Last Days,” it seemed that each day brought a significant film (relatively speaking) that we all eagerly anticipated and were ultimately left disappointed by.

It seems to me that the weakness of this year’s festival lineup might not be the fault of the programmers or organizers. Instead, it could be due to the shrinking middle ground in film production, where films that are neither micro-budget nor studio blockbusters have become less common over time.

With an increased emphasis on awards, many highly anticipated movies choose to premiere at Venice, Toronto, Telluride, or other prestigious festivals instead of Sundance. This could lead to a smaller pool of exceptional projects for Sundance. Despite the fact that several Sundance titles are among this year’s Oscar nominees, and we have had a Best Picture winner from Sundance in the past (such as CODA), it seems like we may still be experiencing some lingering effects of Hollywood’s post-strike period.

Additionally, I was struck by how many films seemed to require additional script revisions. So, it’s possible that this year’s unimpressive lineup is a fluke and next year could offer stronger choices.

Despite having a few films that might not be universally appreciated, it’s challenging to label such a festival as “bad” when it has gifted us masterpieces like “Peter Hujar’s Day”, “Train Dreams”, “Sunfish (& Other Stories on Green Lake)”, “The Ugly Stepsister”, “The Things You Kill”, and “Rebuilding”. Plus, its documentaries, which are consistently outstanding (and regrettably often overlooked), make it a must-attend event. Fran, I’m curious, what were your favorite moments from your first in-person Sundance experience?

Fran: My experience was quite novel since it was my inaugural visit to Park City, my initial trip to Eccles Theater, and I even got winded climbing just one flight of stairs (due to the high altitude). The festival truly began for me during the Friday-afternoon premiere of Mary Bronstein’s film, “If I Had Legs I’d Kick You“, starring Rose Byrne, Conan O’Brien, and A$AP Rocky. This combination of unanticipated performers was certainly a highlight for this year’s festival. In the movie, Byrne portrays Linda, a therapist and mother dealing with her sick daughter (whose presence is only heard in the film) while navigating various other pressures like a leaking roof, her husband being away on business for two months, and an unstable patient. Bronstein’s previous work, “Yeast“, showcased a challenging camping weekend where a group of young women exchanged harsh words for 80 minutes straight. Similarly, “Legs” is equally tense; to put it mildly, it’s likely 20 times more stressful. The film felt like a genuine thriller, causing the audience to scream, groan, laugh, and cover their eyes. While the movie doesn’t entirely resonate with me, it’s indisputably an exhilarating journey. Did any of the movies you watched elicit a similar audible response from the spectators – for better or worse?

At Sundance, many screenings we go to are grand premieres where the entire cast and crew attend. The reaction to “Kiss of the Spider Woman,” for instance, was quite boisterous. This was partly due to it being a musical (a genre known for mid-film applause), partly because it was a premiere, and partly because J.Lo was there. I’m sure many in the audience truly enjoyed the movie – even if I didn’t, with the exception of Tonatiuh’s remarkable performance, which rightfully received a standing ovation at the end.

I find myself particularly captivated by screenings that are bustling yet eerily silent, where every subtle sound is amplified. It’s in these moments you sense a film is truly casting its spell. This was my experience at “Rebuilding,” a film featuring Josh O’Connor as a cowboy who’s lost his family farm to a devastating wildfire and is trying to rebuild his life. In the past, “saving the family farm” might have been one of several tired clichés associated with mediocre Sundance films. However, “Rebuilding” was brimming with authenticity, rich detail, and Josh O’Connor’s portrayal of a heart-wrenchingly realistic single father made it so much more than just a cliche.

Initially, I missed the public debut of “Train Dreams“, instead attending a private screening intended for press and industry personnel. Such screenings typically lack the usual audience enthusiasm, with fewer walkouts as not everyone is committed to viewing the entire film (buyers, managers, etc.). However, my experience with “Train Dreams” was quite different; it held everyone’s attention completely, and no one left. By the time the credits finished rolling, I found myself still shedding tears like a baby. Sales at this festival have been scarce, so it’s heartening to see one of the better films secure a distribution deal – Netflix has acquired “Train Dreams“. Yet, I am slightly concerned that a Netflix deal might result in a limited or absent theatrical release for this stunning cinematic experience. Here’s hoping that Netflix makes the right decision and ensures it is screened in a substantial number of theaters before it vanishes into the vast streaming landscape.

Fran: I watched almost all of the credits for “Train Dreams” as a way to gather my thoughts, and it reminded me of Terrence Malick’s style, but also brought to mind David Lowery’s early work. I truly hope that people get to watch this movie in theaters because its grandeur matches that of its trees on the big screen.

Among the standout films I watched this year were productions by filmmakers who have been active for some time: Bronstein, “Train Dreams”, Cherien Dabis’s “All That’s Left of You”, James Sweeney’s “Twinless”, and Ira Sachs’s “Peter Hujar’s Day”. What made these movies particularly engaging was not necessarily their abundance of talent or resources, but rather the authentic perspective of filmmakers who didn’t feel compelled to throw everything they had at the screen.

For instance, “All That’s Left of You”, a family drama about three generations of a Palestinian family, directed by Dabis, was beautifully crafted yet straightforward. She skillfully kept the audience in suspense for most of the film, only to unveil the central twist in the final act. The movie stayed with me for several days after viewing it, reflecting Dabis’s mastery over her storyline and her patience in her writing.

Unfortunately, I didn’t catch any documentaries during my visit to Park City, but I aim to rectify that soon on Sundance’s online platform. You, however, seemed to have watched more documentaries than I did. Could you share what caught your eye in the documentary section?

Not Alone Anymore” and “Pee-Wee As Himself.” However, unlike previous years where documentaries often sparked controversies and breakouts, this year there was little coverage or discussion about them. Some of this might be due to the fact that we can now access all competition titles online during the last few days of the festival, which could lead to a focus on the Premiere titles that won’t be available online later. As a result, documentaries may have been overlooked in terms of buzz.

In the current global landscape of non-fiction dissemination, there’s a significant predicament that needs more attention. Platforms like Sundance become crucial as they offer exposure to these important stories. A film like “The Stringer,” which proposes an intriguing theory about the iconic Vietnam War photo known as “Napalm Girl” and its photographer, was expected to generate a lot of discussion. However, it seems that conversation around this film has been limited. Despite being somewhat inconsistent, “The Stringer” presents a compelling narrative. Similarly, “Predators,” which delves into the complex legacy of NBC’s “To Catch a Predator” series, seemed ripe for debate, but I haven’t noticed much discussion about it so far.

I could express it as follows:

I found myself deeply moved by “Coexistence, My Ass!” featuring Noam Shuster Eliassi, an Israeli comedian and activist. Her unwavering advocacy for Palestinian freedom and her growing dissatisfaction with the centrist ideology of peaceful coexistence have earned her quite a few enemies in her own country. I had high hopes that this film would make a bigger splash at the festival, but it didn’t quite reach its full potential.

Similarly, “GEN_” directed by Gianluca Matarrese offers a riveting portrayal of a Milan doctor who provides fertility treatments and guides transgender patients in their treatment decisions. This film is not stylistically innovative, but its unwavering and empathetic focus on the doctor and his patients can be seen as a brave act of defiance against conventional norms.

These lesser-known films might not have garnered much attention, but considering the current global climate, one would expect a stronger response. A film like “Mr. Nobody Against Putin” is particularly compelling, offering a chilling, firsthand account of a Russian school’s transformation into a hotbed for nationalist and military propaganda during the Ukraine War. The film’s protagonist and co-director, Pavel Talankin, risked his life to capture this footage over several years, eventually leaving Russia. Surprisingly, there seems to be little media coverage about this man’s courage. Admittedly, I could have delved deeper into these films’ narratives, but I found myself preoccupied with waiting in line for movies like “Bubble & Squeak“. The real question now is whether any distributors will show the necessary boldness to bring these stories to wider audiences.

One significant trend at this year’s Sundance was distributors’ reluctance, possibly stemming from the aftermath of fires or doubts among buyers, to acquire the stronger films shown at the festival. At the point of writing, only a few films have been sold. One such film whose future is uncertain is our shared favorite from the festival, Ira Sachs’ “Peter Hujar’s Day.” Sachs previously directed the critically acclaimed film “Passages,” which catapulted Franz Rogowski into prominence. In contrast to the sexier, funnier, and sharper “Passages,” “Peter Hujar’s Day” is more subdued. The movie is an adaptation of Linda Rosenkrantz’s book of the same name: a transcript of a conversation between Peter Hujar and Rosenkrantz about his daily routine.

In this heartwarming 75-minute journey, I found myself captivated by the ordinary yet profound moments that unfolded. Ben Whishaw, brilliantly portraying Hujar in “Passages,” and Rebecca Hall as Rosenkrantz, engage in casual conversations about subjects ranging from food to art, friends, and New York City. The film is beautifully shot on 16-mm. by Alex Ashe, making it a visual treat, with its interiors radiating warmth and comfort. I can’t help but wonder about the rental prices in ’70s NYC, but that doesn’t matter much when Whishaw and Hall are at the heart of the narrative. Their characters, gentle and curious, remind me of two fascinating individuals you might encounter at your local coffee shop. Peter Sachs seems to harbor a deep affection for these two artists, just as they once felt for each other. It’s like getting a private peek into an intriguing conversation between the most captivating people in your neighborhood.

Due to being overextended like the thin air in Park City, we missed a few titles. I’m eager to watch Eva Victor’s acclaimed debut film “Sorry, Baby” and several of the documentaries you mentioned. Will you tell me if there were any other films that you didn’t get to see that you’ll be looking forward to later this year?

Regardless of watching movies almost non-stop, I have a strange knack for overlooking major sales at every Sundance. Last year, I missed out on It’s What’s Inside, which I still haven’t watched. In 2021, I skipped CODA. In 2020, I passed on Palm Springs. And the trend continues – this year I missed out on Together, the Alison Brie–Dave Franco thriller that Neon acquired. A series of snowbound bus mishaps kept me from catching the documentary It’s Never Over, Jeff Buckley. Additionally, I missed If I Had Legs I’d Kick You, a film that many agreed was good during the early days of the festival. (Notably, there was also The Ugly Stepsister, the entertaining alt-Cinderella body-horror thriller that had already secured a deal with Shudder.)

As a festival enthusiast, I must admit there was an unusually subdued ambiance at this year’s event. A witty companion quipped that the flags hanging low all over town (still mourning Jimmy Carter) mirrored our collective feelings towards the films we were watching. This sentiment seemed to resonate with everyone present. Could it be due to the uncertainty surrounding Sundance’s departure from Park City, even though we don’t know its new destination yet? I had envisioned a festive “Last Hurrah” atmosphere, but instead, it felt more like the twilight of an era – akin to the final days of a store closing sale. The buzz was lower, anticipation waned, hope seemed scarce, attendance dwindled. (Not just in numbers, but also in movie selection.) Admittedly, the election might have played a part. It’s worth noting that Sundance often coincides with, or occurs very close to, Inauguration Day. This proximity could explain not only the somber mood but also the hesitation to discuss or invest in films dealing with sensitive topics. With political tensions running high, one wonders if the acquisition of a film like “GEN_” might lead to repercussions for the distributor, or if profiling a subject such as “Zodiac Killer Project” could invite unwanted attention from powerful figures like Ted Cruz. In jest, I ponder if these fears aren’t just the product of an overactive imagination – but then again, who knows what might happen next?

Fran: Besides the general gloomy atmosphere, it seemed like people were fed up with the festival’s logistics. The slow shuttles, traffic congestion, and screenings being too close together – it’s frustrating to watch a poor film, but missing a good one due to these issues is even more annoying, as I and many others experienced. A new location might lift spirits and provide a fresh start for everyone in the future.

As a cinephile, let me tell you, I always make it a point to set aside some time during my last day at Sundance for an unanticipated movie screening, one that fits perfectly into my schedule. Last year, this serendipitous choice was the captivating film “Ghostlight,” which landed a spot on my top ten movies of 2024. This year, the lucky pick was Mohammad Reza Eyni and Sara Khaki’s documentary, “Cutting Through Rocks.” This compelling account follows the journey of Sara Shahverdi, a 37-year-old, motorbike-riding tomboy, former midwife, and the only woman to have ever been elected in her small Iranian village. Sara is now grappling with the challenges of her new position while simultaneously providing a sanctuary for the girls in her community who often get married off at a young age. The villagers, including her relatives, aren’t entirely on board with this cause. On paper, it might seem like a predictable, worthy film, but “Cutting Through Rocks” is anything but. It’s brimming with energy, featuring an extraordinary subject in Sara Shahverdi. At times, it’s even heart-wrenchingly tragic. I was utterly captivated throughout the screening. The experience served as a poignant reminder of the thrill of discovery that makes film festivals so unique and reaffirms why Sundance continues to be significant.

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2025-02-01 02:55