usually makes up the busiest days of its entire run, has come to an end
with most of the highly anticipated titles having been screened at least once
for film lovers and industry hopefuls who are searching for the next
breakthrough film no one has seen coming. Indeed here in Sundance, it is rarely
a movie with star attachments that takes the industry by storm in the
competition categories. On the contrary, it’s usually a small film from a
newbie. If you look at the ticketing page of the festival for advice on how to
navigate your way through sold out shows, you’ll notice these words of wisdom:
“Be adventurous with last-minute film
choices! Last year’s Grand Jury Prize winner Beasts of the Southern Wild had
200 empty seats at its first screening.” While there hasn’t necessarily been a showstopper such as Beasts of the Southern Wild yet (not
including the big premieres, here), a few titles managed to stir up some debate
and get the attention of the crowd temporarily stationed in Park City. Among
these, none of them received as consistently great reactions as Randy Moore’s Escape From Tomorrow, a title I was able
to see late yesterday night as part of the festival’s NEXT section dedicated to
finding bold and innovative works. The film follows a family of four on the
last day of their trip to Disneyland, which starts with the father Jim (Roy
Abramsohn) losing his job over a phone call he receives from his boss. Hiding
the news from his wife and young children, Jim’s final day at the theme park
takes a surreal detour, turning the “happiest place on earth” into a David
Lynch-esque nightmare for the family. Shot in black and white with a crisp,
classic look that hints a taste of the French New Wave, Escape From Tomorrow is an effective and disturbing look at our
contemporary tastes and willingness to embrace the mass-produced, coating our
individualism to make each of us one of the same. Director Moore is a newcomer,
and thus, it’s a mystery to everyone -including myself- how he managed to shoot
a feature length narrative film in Disneyland completely on the sly. Yes, he
had no permits; just a dedicated cast and crew who agreed to walk around with
cameras, posing to be tourists. “We almost get caught once”, said Moore during
the post screening Q&A, also noting that their shot list was much longer
than their script, with every single move and location intricately planned and
learned on paper. Cinetic is
representing the film for potential distribution deals; and since it’s safe to
say that Disney is soon going to file a lawsuit against the filmmaker (and he
is aware of that), it is hard to predict if a theatrical future is in the cards
for Escape From Tomorrow. One can
only hope.
Shaka King’s Newlyweeds, whose mild
humor, buried within a script as cloudy and directionless as its subjects,
failed to impress; and Chad Hartigan’s This
Is Martin Bonner, a film that effectively depicts the loneliness of its
characters with the kind of sensitivity and humanity one would expect from Mike
Leigh. It was refreshing to see this film which speaks to mature audiences.
had their initial shots at becoming the next big prizewinner as the entire crop
has been screened at least once. I have so far seen (apart from Cherien Dabis’ May In The Summer which I already talked
about in my Day 1 recap), John Krokidas’ Kill Your Darlings,
David Lowery’s Ain’t Them Bodies
Saints, and Francesca Gregorini’s Emanuel and The Truth About Fishes (with
a few more coming up tomorrow and Tuesday); and among these, David Lowery’s
title easily stands out with its slowburning, lyrical Texan tale of love torn apart by
crime. Blending a western look with Malick-esque storytelling, Lowery’s
handle on the joyless lives of his characters (with pitch-perfect performances
by Casey Affleck, Rooney Mara and Ben Foster) impresses and bruises. It’s the
kind of movie that will attract a lot of admiration, yet perhaps not
enthusiasm. Krokidas’ Kill Your Darlings,
which tells a story of murder in the early college years of American poet Allen
Ginsberg, is stylish in bringing back a period to life, and once again features
phenomenal performances by the entire cast (including Ben Foster, once again);
yet the film goes slightly off the rails in its 3rd act, which can
simply be salvageable through re-editing. Lastly, Francesca Gregorini’s Emanuel And The Truth About Fishes tells
a surreal, quiet story of coping, longing, letting in and letting go. Emanuel,
a sharp yet mysterious teen living with her dad and stepmother (in an initially
stagnant, yet increasingly keen performance by Kaya Scodelario) forms a bond
with the cool next door neighbor Linda (Jessica Biel) and the turn of events
brings her closer to understanding loss. Despite the gorgeous cinematography
and the interesting nuances in the film which constructs Linda’s story as the
antithesis of Emanuel’s, this title is unlikely to resonate in this category. I
am still planning on seeing Shane Carruth’s Upstream
Color, Jordan Vogt-Roberts’ Toy’s
House and Lynn Shelton’s Touchy Feely;
however based on the early reviews and instant Twitter reactions of critics
attending the festival, it is safe to say that Toy’s House has a real shot at being the winner of this category.
exaggerating if I said almost all titles here are creating the kind of buzz
that makes them look like potential winners. Documentaries have been enjoying a
fruitful theatrical run in 2012 continuing the trend of the previous few years,
and this year’s Sundance titles suggest that we can continue to expect
greatness from non-fiction storytellers. I have managed to fit in Martha Shane
and Lana Wilson’s After Tiller, and
Morgan Neville’s Twenty Feet From Stardom
(see my Day 1 recap) into my schedule so far –and it’s worth
mentioning not all titles have been screened in this category yet- but based on
what I’m so far hearing, the competition might be between these two. I am
personally a big fan of both titles, but would be especially pleased if After Tiller, a vital, inevitable
documentary for which “brave” doesn’t come close to being a sufficient
definition, wins this category. Following 4 doctors who perform late term/3rd
trimester abortions in the US, After
Tiller gives voice to those who stand in the extreme end of an already
controversial topic. Given the political dimension of the story, and the
expected hate it will attract, all screenings of this doc (which the doctors
themselves attended as well), were tightly monitored by a security staff. I am
still looking forward to seeing Greg Barker's Manhunt: The Search For Osama Bin
Laden and Zachary Heinzerling’s Cutie and
The Boxer.
entries of the festival- made for a colorful few days here in Park City. Park
Chan-Wook’s Stoker, which favored
style over substance in what happened to be the festival’s biggest
disappointment for me, widely divided audience reactions. In The East, Zal Batmanglij’s second
collaboration with the beautiful Brit Marling and his follow up to the
masterful Sound Of My Voice, tension
and mystery were tightly managed to the advantage of this highly entertaining film’s
pace. Among the titles I haven’t yet seen,
sex –as Robert Redford mentioned during the opening press conference- seems to
be a recurring theme in films such as Don
Jon’s Addiction (Joseph Gordon Levitt’s directorial debut), Anne Fontaine’s
Two Mothers, and Drake Doremus’ Breathe In. I look forward to catching
more of these titles before I depart on Wednesday. When one looks at the last weekend, it is easy to see that
none of the titles have been generating as much buzz as Richard Linklater’s Before Midnight, his third and final
(perhaps?) installment of the trilogy, which started out with Before Sunrise and Before Sunset. It had its first screening earlier tonight and many
critics on Twitter have already declared it a masterpiece. I am seeing it
tomorrow morning at 8:30 am and it won’t be easy, especially after tonight’s
Fox Searchlight party that was still in full swing as I was heading back to my
condo at well after midnight.
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