Nothing sent me into orbit this year; there was no breakthrough along the lines of last year's
Beasts of the Southern Wild
that's likely to turn up on my or many other 10-best lists come
December. But Sundance 2013 did provide the feeling of a promising new
generation of filmmakers beginning to take root, one more than ever
loaded with women (fully half of the 16 U.S. Dramatic Competition
entries were directed by females) but also diverse in their interests,
ranging from comedy and manifestly mainstream commercial aspirations to
social issues, sexuality, genre revisionism and out-there narrative
experimentation.
Sundance could take more than it usual share of satisfaction in its accomplishments this year due to the fact that
Fruitvale,
which won both the Grand Jury Prize and the Audience Award in the U.S.
Dramatic Competition, would not even have existed were it not for the
Sundance Screenwriting Lab and institute grants that kept the project
afloat.
Fruitvale, which dramatizes the short life and tragic death of
Oscar Grant
in a police shooting in 2009, represents one of those fabled Sundance
success stories the likes of which date back at least to 1989 and
Steven Soderbergh with
sex, lies & videotape, that of a young filmmaker no one's ever heard of one day who is the toast of the town the next.
In this case, he's
Ryan Coogler, a highly
ingratiating 26-year-old black man from modest circumstances in the Bay
Area who studied film at USC, participated in the Sundance Lab last
January and within the year managed to enlist the help of such Hollywood
luminaries as
Forest Whitaker and
Octavia Spencer and get his film made and out into the world with the spotlight firmly on him.
It's a powerful and well-made topical drama, one that stars another promising talent by the name of
Michael B. Jordan.
One can only hope that expectations are now not raised so high that the
film might appear overrated and perhaps a bit sanctified to future
viewers.
For me, two other films shared the top shelf with
Fruitvale. After warming up with
Off the Black and last year with
Smashed, director
James Ponsoldt came into his own with
The Spectacular Now, which was prized by the jury for its fine lead performances by
Miles Teller and
Shailene Woodley.
This is an unusually rich teen comedy-drama that goes much deeper than
99 percent of films dealing with adolescents, so insightfully does it
dig into its young characters' hopes, levels of denial and eventual
assumption of awareness of their inherited personal traits and the
consequences of their behavior.
I got a strong rush out of
John Krokidas' stylistically charged
Kill Your Darlings, a reasonably plausible and emotionally turbulent look at budding bohemians
Allen Ginsberg, Jack Kerouac and
William Burroughs
when they were merely lads discovering they were different at Columbia
University in the early 1940s (how did they all avoid the Army,
anyway?). Aside from dramatizing the eventually fatal relationship
between the desperately enamored
David Kammerer and the beautiful young
Lucien Carr,
first-time director Krokidas demonstrates real flair for shooting,
cutting and music and is especially sensitive to the formative moments
of his subjects' artistic adventurism and sexual impulses.
Among the eight competition films directed by women, the most compelling was
Stacie Passon's Concussion, which charts a different sort of walk on the wild side, that of a lesbian suburbanite,
Belle de Jour-like
foray into prostitution as a way to explore her own domestic stasis.
The most purely entertaining film in the entire competition was
In a World... from
Lake Bell,
hitherto known mostly as an appealingly offbeat actress with rare
screwball gifts whose eventual profile in the Hollywood scheme of things
has been hard to figure. Now it's much clearer: She has real promise as
a writer-director based on this funny, live-wire look at the world of
Hollywood voice-over talent.
Francesca Gregorini's Emanuel and the Truth About Fishes and
Jerusha Hess' Austenland were pretty well received by my colleagues;
Cherien Dabis' May in the Summer, Lynn Shelton's Touchy Feely and
Liz W. Garcia's The Lifeguard somewhat less so. But the unaccountable prizewinner was
Jill Soloway, who was named best director for her very conventional, TV-style work on the banal and tonally uncertain
Afternoon Delight. Awards program audience members were at a loss afterward wondering how the jury came up with this choice.
Shane Carruth's Upstream Color was the most anticipated competition entry for hard-core enthusiasts for his debut film
Primer
nine years ago. Beautiful, mysterious, thematically suggestive but
dramatically obscure, this is an experimental art film that appealed to
exactly the same fan base as
Primer and suggests a deeper
burrowing into the writer-director-cinematographer-editor-composer-sound
designer-lead actor-distributor's idiosyncratic mind rather than, as
some had hoped, an artistic expansion.
One thing this year's filmmakers all got right was keeping their work
tight. The average running time of the U.S. competition entries was 96
minutes, certainly a much shorter average than what you find at the big
international festivals such as Cannes. The longest film of the 16,
Andrew Dosunmu's visually vibrant but under-achieved
Mother of George, about Nigerians living in New York City, runs 106 minutes, while
Fruitvale
is the shortest at 85 minutes (the official Sundance catalog lists its
running time as 100 minutes, suggesting some significant last-minute
pruning was done).
As usual, the batting average was lower in the festival's graduate program, the Premieres. Stealing the show was
Richard Linklater's Before Midnight, the third and almost certainly the best of his ongoing collaborations with
Ethan Hawke and
Julie Delpy.
In a series of breathlessly long takes, this one goes deeply into the
mutual understandings and lingering resentments of a couple entering
middle age, highlighted by amusing but trenchant dialogue and beautiful
Greek backdrops.
The special event of the festival, experienced by a full house
committed to spending an entire Sunday at the Egyptian Theater reveling
in it, was the world premiere of the six-hour miniseries
Top of the Lake, created and written by
Jane Campion and
Gerard Lee and directed by Campion and
Garth Davis. Shot on stunning locations in New Zealand and featuring terrific work by leads
Elisabeth Moss, Peter Mullan and
Holly Hunter,
this highly female-centric mystery pivots on the investigation into the
disappearance of a pregnant 12-year-old. In time-honored fashion, many
dreadful skeletons are unearthed that reveal the depravity beneath the
beauty of the place. It's a series basically on a level with the best
American longform dramas of the past couple of decades and a must for
serious viewers when it debuts on the Sundance Channel in March.
Several entries in the low-budget Next category inspired spirited reactions, especially
Alexandre Moors' disturbing
Blue Caprice,
which imagines the manipulative older man/younger protege relationship
behind the Washington, D.C.-area Beltway sniper shootings.
Randy Moore's provocative, sophomorically surreal
Escape From Tomorrow uses Disney World as a location to transformative ends;
Chad Hartigan's rigorous, quietly observed character study of two men in transition,
This Is Martin Bonner, surprisingly snared the category's audience award, while
Andrew Bujalski's one-joke
Computer Chess amassed fans captivated by the resurrection of 30-year-old PortaPak black-and-white video for the occasion.
The standard advice festival veterans give to newcomers wondering
what they should see among the 120-plus films annually on offer at
Sundance is: When in doubt, see the documentaries. Rarely is there a
documentary in the U.S. or World categories that isn't at least worth
sitting through, and mostly they're very good. Given the press of other
films, I simply didn't have the time to fully take my own advice this
year, but the word was generally strong.
Among the most talked-about American documentaries were
Gabriela Cowperthwaite's Blackfish, about killer whales kept in captivity at water parks;
Richard Rowley's Dirty Wars, which looks at a journalist tracking the inside story about covert U.S. military efforts;
Dawn Porter's Gideon's Army, focused on burdens faced by public attorneys defending poor clients
; Jacob Kornbluth's Inequality for All, starring (and that is the word) economist
Robert Reich; Greg Barker's Manhunt: The Search for Osama Bin Laden, a welcome companion piece to
Zero Dark Thirty; Shaul Schwarz's Narco Cultura, an eye-opening window on drug cartel-inspired music;
Morgan Neville's hugely crowd-pleasing
Twenty Feet From Stardom, which puts terrific backup singers front and center; and
Marta Cunningham's Valentine Road, about the 2008 murder of cross-dressing eighth-grader
Larry King by classmate
Brandon McInerney (full disclosure: my wife,
Sasha Alpert,
co-produced this one): All these films and no doubt others played to
packed and highly responsive audiences all week. And then the awards
were announced and the big winner (of both the Grand Jury Prize and
Audience Award) was
Steve Hoover's hitherto less-heralded
Blood Brother, which emotionally illuminates the community at a remote facility for HIV-infected kids in India.
It all goes to show that, going in, you never know at Sundance about
what will emerge, who will transform from a nobody into a player, what
film or two will define a given year. In the work overall this time,
both dramatic and documentary, you felt engagement, not cynicism; an
exploratory impulse, not a willingness to settle for formula. With any
number of the filmmakers who established their names this year, their
next works can be anticipated with real interest.
http://www.hollywoodreporter.com/news/sundance-2013-todd-mccarthy-best-416307