Sundance is over and the prizes are won. People have dispersed to their homes and the realities that await them there.
This was a Sundance like no other I can remember, and I have attended every single one since 1986! The cold was extreme; and the political engagement and disgust was extreme. Not only did we have the Inauguration the first day, but the Women’s March the second day had probably 6,000 people marching and on that day the first of many deplorable executive orders (this one against women of the world and their control over their own bodies) began flying off the desk of our current president, who has continued to issue at least one every day, each one more despicable than the previous. Politics and women took center stage.
Chelsea Handler leads the women’s march in Park City, Utah. (Jay L. Clendenin / Los Angeles Times)
The Sundance slant...
This was a Sundance like no other I can remember, and I have attended every single one since 1986! The cold was extreme; and the political engagement and disgust was extreme. Not only did we have the Inauguration the first day, but the Women’s March the second day had probably 6,000 people marching and on that day the first of many deplorable executive orders (this one against women of the world and their control over their own bodies) began flying off the desk of our current president, who has continued to issue at least one every day, each one more despicable than the previous. Politics and women took center stage.
Chelsea Handler leads the women’s march in Park City, Utah. (Jay L. Clendenin / Los Angeles Times)
The Sundance slant...
- 2/8/2017
- by Sydney Levine
- Sydney's Buzz
It’s difficult to truly capture a controversial subject in film. For a figure such as Winnie Madikizela Mandela, it may be impossible unless you ensure her perspective is included. This is a woman labeled terrorist by many countries, a wife who “tarnished” her heroic husband’s legacy. Yet the people of South Africa hail her as Nelson Mandela‘s equal—maybe greater. She was the on-the-ground leader of the African National Congress (Anc) when he and others were imprisoned or exiled, the one person who put her fist up in opposition without fear. She saw the carnage and violence first-hand and taught South Africans to match that level of brutality in order to survive. Outside the filter of her oppressors’ smear campaigns to criminalize her actions, Winnie was a general.
This duality between “Mother of the Nation” and “war criminal” is what interested director Pascale Lamche. What if she...
This duality between “Mother of the Nation” and “war criminal” is what interested director Pascale Lamche. What if she...
- 2/2/2017
- by Jared Mobarak
- The Film Stage
Change may be coming slowly to the entertainment industry, but at this year’s Sundance Film Festival, a desire for diversity and inclusion amongst female filmmakers went beyond buzzwords.
Thirty-four percent of all films that screened at Sundance this year were directed by women – in years past, the average has hovered around 25 percent – and female filmmakers were prominent across all sections, with women debuting films in not just the competition sections, but also the forward-thinking Next section, the wild Midnight category (which played home to the long-gestating anthology “Xx,” featuring four shorts directed by women) and even the starry Premieres docket.
Read More: The 2017 IndieWire Sundance Bible: Every Review, Interview and News Item Posted During the Festival
The rise of female-directed films was particularly felt at this year’s awards ceremony as two of the four juried competition directing awards went to women: “Beach Rats” helmer Eliza Hittman picked up the award in the U.
Thirty-four percent of all films that screened at Sundance this year were directed by women – in years past, the average has hovered around 25 percent – and female filmmakers were prominent across all sections, with women debuting films in not just the competition sections, but also the forward-thinking Next section, the wild Midnight category (which played home to the long-gestating anthology “Xx,” featuring four shorts directed by women) and even the starry Premieres docket.
Read More: The 2017 IndieWire Sundance Bible: Every Review, Interview and News Item Posted During the Festival
The rise of female-directed films was particularly felt at this year’s awards ceremony as two of the four juried competition directing awards went to women: “Beach Rats” helmer Eliza Hittman picked up the award in the U.
- 1/30/2017
- by Kate Erbland
- Indiewire
The Sundance 2017 juries and audiences unveiled their picks on Saturday night.
In the grand jury prizes, Macon Blair’s I Don’t Feel At Home In This World Anymore claimed the Us dramatic award and Dina by Dan Sickles and Antonio Santini won U.S. documentary.
Tarik Saleh’s The Nile Hilton Incident won world dramatic and Last Men In Aleppo by Feras Fayyad and Steen Johannessen prevailed in the world documentary category.
In the audience awards, Matt Ruski’s Crown Heights and Jeff Orlowski’s Chasing Coral were the favourites in the Us dramatic and documentary strands.
World cinema selections I Dream In Another Language by Ernesto Contreras and Joe Piscatella’s Joshua: Teenager vs. Superpower emerged victorious in the dramatic and documentary sections.
“This has been one of the wildest, wackiest and most rewarding festivals in recent memory,” said festival director John Cooper. “From a new government to the independently organised Women’s March On Main...
In the grand jury prizes, Macon Blair’s I Don’t Feel At Home In This World Anymore claimed the Us dramatic award and Dina by Dan Sickles and Antonio Santini won U.S. documentary.
Tarik Saleh’s The Nile Hilton Incident won world dramatic and Last Men In Aleppo by Feras Fayyad and Steen Johannessen prevailed in the world documentary category.
In the audience awards, Matt Ruski’s Crown Heights and Jeff Orlowski’s Chasing Coral were the favourites in the Us dramatic and documentary strands.
World cinema selections I Dream In Another Language by Ernesto Contreras and Joe Piscatella’s Joshua: Teenager vs. Superpower emerged victorious in the dramatic and documentary sections.
“This has been one of the wildest, wackiest and most rewarding festivals in recent memory,” said festival director John Cooper. “From a new government to the independently organised Women’s March On Main...
- 1/29/2017
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
The 2017 Sundance Film Festival is coming to a close with tonight’s awards ceremony. While we’ll have our personal favorites coming early this week, the jury and audience have responded with theirs, topped by Macon Blair‘s I don’t feel at home in this world anymore., which will arrive on Netflix in late February, and the documentary Dina. Check out the full list of winners below see our complete coverage here.
The U.S. Grand Jury Prize: Documentary was presented by Larry Wilmore to:
Dina / U.S.A. (Directors: Dan Sickles, Antonio Santini) — An eccentric suburban woman and a Walmart door-greeter navigate their evolving relationship in this unconventional love story.
The U.S. Grand Jury Prize: Dramatic was presented by Peter Dinklage to:
I don’t feel at home in this world anymore. / U.S.A. (Director and screenwriter: Macon Blair) — When a depressed woman is burglarized, she...
The U.S. Grand Jury Prize: Documentary was presented by Larry Wilmore to:
Dina / U.S.A. (Directors: Dan Sickles, Antonio Santini) — An eccentric suburban woman and a Walmart door-greeter navigate their evolving relationship in this unconventional love story.
The U.S. Grand Jury Prize: Dramatic was presented by Peter Dinklage to:
I don’t feel at home in this world anymore. / U.S.A. (Director and screenwriter: Macon Blair) — When a depressed woman is burglarized, she...
- 1/29/2017
- by Jordan Raup
- The Film Stage
This year’s Sundance Film Festival capped off this evening with the fest’s annual awards show, held at Park City, Utah’s own Basin Recreation Field House. The ceremony opened at 7:00Pm Mt, featuring host (and Sundance premiere “The Incredible Jessica James” star) Jessica Williams shepherding along the festivities in predictably amusing fashion.
Macon Blair’s playful suspense film “I don’t feel at home in this world anymore.” won the U.S. Dramatic Grand Jury Prize, while the U.S. Documentary Grand Jury Prize went to “Dina.”
“I don’t feel at home in the world anymore.” marks the directorial debut of Blair, previously best known for his acting collaborations with director Jeremy Saulnier (“Blue Ruin”). The movie stars Melanie Lynskey as a woman who embarks on a darkly comic adventure as she seeks out the identity of the person who robbed her apartment, joining forces with...
Macon Blair’s playful suspense film “I don’t feel at home in this world anymore.” won the U.S. Dramatic Grand Jury Prize, while the U.S. Documentary Grand Jury Prize went to “Dina.”
“I don’t feel at home in the world anymore.” marks the directorial debut of Blair, previously best known for his acting collaborations with director Jeremy Saulnier (“Blue Ruin”). The movie stars Melanie Lynskey as a woman who embarks on a darkly comic adventure as she seeks out the identity of the person who robbed her apartment, joining forces with...
- 1/29/2017
- by Eric Kohn and Kate Erbland
- Indiewire
Relationships between documentary filmmakers and their subjects must balance access and editorial control, which leaves them walking a line between establishing trust and respecting boundaries. It’s a tricky business.
IndieWire recently asked nonfiction filmmakers behind this year’s Sundance documentary features about the understandings they established with their subjects before they started shooting, and if they considered their stars to be collaborators.
Read More: Fox Searchlight Buys Documentary ‘Step’ For More Than $4 Million — Sundance 2017
Amanda Lipitz “Step” The process started with discussing the idea with the families, especially the mothers of the young women on the step team. We set up a meeting after school one day and all the parents/guardians were invited to attend. I explained my vision of the story, with the emphasis on wanting to tell a positive story about Baltimore, these young women, and what they were trying to accomplish. I absolutely consider them collaborators.
IndieWire recently asked nonfiction filmmakers behind this year’s Sundance documentary features about the understandings they established with their subjects before they started shooting, and if they considered their stars to be collaborators.
Read More: Fox Searchlight Buys Documentary ‘Step’ For More Than $4 Million — Sundance 2017
Amanda Lipitz “Step” The process started with discussing the idea with the families, especially the mothers of the young women on the step team. We set up a meeting after school one day and all the parents/guardians were invited to attend. I explained my vision of the story, with the emphasis on wanting to tell a positive story about Baltimore, these young women, and what they were trying to accomplish. I absolutely consider them collaborators.
- 1/28/2017
- by Chris O'Falt
- Indiewire
If Nelson Mandela was often perceived and portrayed as a saint even during his lifetime, Winnie Madikizela-Mandela, who was married for 38 years to the man who would become South Africa’s first post-Apartheid president, was most certainly not. Accusations, trials and investigative commissions have been a part of her life for decades and Pascale Lamche’s new feature documentary, simply titled Winnie, has the thankless task of sorting through decades of muckraking and controversy, hoping to uncover the complexities and truth of the real person behind the woman once referred to as “the mother of a nation.”
Whether the film succeeds...
Whether the film succeeds...
- 1/28/2017
- by Boyd van Hoeij
- The Hollywood Reporter - Movie News
IndieWire reached out to the filmmakers behind the feature-length narrative and documentary films premiering this week to find out what cameras they used and why they chose them. Here are their responses.
Read More: The 2017 IndieWire Sundance Bible – Every Review, Interview and News Item Posted During the Festival
Dramatic Competition & Next
Cory Finley, “Thoroughbred”
Arri Alexa Mini. Panavision G-Series lenses.
The Dp, Lyle Vincent, was very particular about getting a hold of both. They gave us flexibility in shooting and helped create the very precise, high-contrast, and slightly dreamy look we were going for.
Gillian Robespierre, “Landline”
Arri Alexa with some vintage lenses
“Landline” takes place in 1990’s Manhattan. My Dp Chris Teague and I talked a lot about what shooting a period movie from a recent period would look and feel like. Unfortunately, we were not able to shoot on film, and added a texture of LiveGrain during color...
Read More: The 2017 IndieWire Sundance Bible – Every Review, Interview and News Item Posted During the Festival
Dramatic Competition & Next
Cory Finley, “Thoroughbred”
Arri Alexa Mini. Panavision G-Series lenses.
The Dp, Lyle Vincent, was very particular about getting a hold of both. They gave us flexibility in shooting and helped create the very precise, high-contrast, and slightly dreamy look we were going for.
Gillian Robespierre, “Landline”
Arri Alexa with some vintage lenses
“Landline” takes place in 1990’s Manhattan. My Dp Chris Teague and I talked a lot about what shooting a period movie from a recent period would look and feel like. Unfortunately, we were not able to shoot on film, and added a texture of LiveGrain during color...
- 1/25/2017
- by Annakeara Stinson and Chris O'Falt
- Indiewire
In 2004, filmmaker Pascale Lamche directed “Accused #1: Nelson Mandela,” a documentary about the untold story of the the Rivonia Trial which featured exclusive interviews with Nelson Mandela and all the surviving co-accused. Now, Lamche is revisiting the Mandelas in her latest documentary “Winnie,” which premiered at this year’s Sundance Film Festival.
The first look at the doc introduces audiences to Winnie Mandela, the wife of Nelson Mandela and misunderstood female political figure who, while her husband was in jail for 27 years, fought on the front line and took steps to inspire an uprising.
Per the documentary’s description, the film “pieces together and properly considers her life and contribution to the struggle to bring down Apartheid from the inside, with intimate insight from those who were closest to her and with testimony from the enemies who sought to extinguish her radical capacity to shake up the order of things.
The first look at the doc introduces audiences to Winnie Mandela, the wife of Nelson Mandela and misunderstood female political figure who, while her husband was in jail for 27 years, fought on the front line and took steps to inspire an uprising.
Per the documentary’s description, the film “pieces together and properly considers her life and contribution to the struggle to bring down Apartheid from the inside, with intimate insight from those who were closest to her and with testimony from the enemies who sought to extinguish her radical capacity to shake up the order of things.
- 1/24/2017
- by Liz Calvario
- Indiewire
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