Sundance, the world’s largest unbiased movie pageant, is celebrating its fortieth version this 12 months, and there is a lot to replicate on. Over the previous 4 many years, every little thing from Clerks to Little Miss Sunshine to Get Out have premiered on on the Park Metropolis, Utah, and this 12 months boasts some starry entries too.
There’s Freaky Tales, starring Pedro Pascal and from Captain Marvel administrators Anna Boden and Ryan Fleck; two Kristen Stewart movies in Love Lies Bleeding (learn IGN’s evaluate right here) and Love Me; Richard Linklater’s Netflix movie Hit Man: Steven Soderbergh’s newest, Presence; and far, way more. It is a huge lineup, however fortunately, we obtained to take a seat down with Sundance Senior Programmer John Nein to assist us comb by way of it.
As Hollywood finds itself at a crossroads, with tried-and-true tentpole traits proving much less dependable than normal, now’s pretty much as good a time as any to speak in regards to the power of indie movies and what Hollywood can study from festivals like Sundance. Under, Nein talks about that, his favourite picks from the 2024 pageant, what Sundance’s position is within the trade right now, and a lot extra.
We’re speaking type of across the tailend of the pageant this 12 months. We have gotten the lay of the land of the flicks. I do know I will ask you to principally decide amongst your kids, however any private favorites this 12 months?
John Nein: That’s choosing amongst my kids. It is true. I got here into it all the time the identical factor, appreciating the combo between discovery and filmmakers who we have proven earlier than.
I really like the [Steven] Soderbergh movie. I believed the concept of constant to discover a language of cinema and inform a ghost story or a presence story – it is known as Presence (learn IGN’s evaluate right here) – and it is a ghost story informed solely from the viewpoint of a ghost. And I used to be like, “wow.” I imply, he simply continues to do modern work. After which there’s so many discovery movies. I really like a movie known as Didi, which is a few Taiwanese American child who grew up in Fremont, California, loving coming-of-age tales, however wanting to inform them from the viewpoint of the place he grew up in Fremont with the those who he knew, which have been first-generation kids of immigrants. It is humorous. It is obtained such an vitality. He is such a proficient filmmaker. His title is Sean Wong.
I simply thought there have been additionally so many attention-grabbing movies that handled mishmash of style. Like Freaky Tales (learn IGN’s evaluate right here) is a movie that’s informed in 4 elements about Oakland in 1987, but it surely’s such a mash of pulp and comedy, anthology horror, previous Testomony wrath. I imply, it is such a artistic movie from – once more, going again to that concept of a mixture between discovery and new filmmakers – Ryan Fleck and Anna Boden, who have been right here 20 years in the past with their first quick movie that they made collectively, Gowanus, Brooklyn, after which they go on to make Half Nelson and Mississippi Grind and Sugar, Captain Marvel. After which they arrive again with an indie function, Freaky Tales, that I believe is about one thing actually particular, and but it is a type of cool style mishmash. So there is a ton of stuff that you just undergo the programming cycle and also you need to really feel jolted into believing within the freshness of a film, and that is what occurs with a few of these films.
I need to discuss extra in regards to the lineup and the submissions specifically. I believe there was just a little little bit of trepidation earlier than the announcement lineup, principally, as a result of we’re coming off two strikes and we’re nonetheless coping with the pandemic, however I believe you guys had a record-breaking quantity of submissions this 12 months. What was it, like 17,000 or one thing?
John Nein: That is proper, yeah. In case you rely quick movies and options, it was an enormous, and it was a record-breaking quantity, however now we have a crew of actually nice programmers who’ve an awesome system and we made our means by way of and we discovered what I believe have been some actually particular movies inside that. However sure, it was a really daunting job to undergo these submissions.
It’s daunting, but it surely’s additionally type of spectacular. I imply, does that let you know one thing in regards to the enduring power of Sundance, 40 editions in?
John Nein: Completely, and the enduring power of indie storytelling. And I believe there’s all the time so many dimensions to a narrative, and whereas it is true that there was positively a way of manufacturing coming to a detailed or a pause for a sure period of time, however from the standpoint of this system, I believe that this system, what I’m listening to this 12 months from the trade – the very trade that would have been the people who find themselves anticipating or questioning what to anticipate – is that it is the strongest program they’ve seen for a very long time. And so we by no means know that stepping into. Now we have an intuitive feeling that we’re actually pleased with this system, however I used to be actually speaking to somebody simply earlier than I got here right here about how the trade, I believe, is wanting on the program this 12 months and discovering quite a bit from the standpoint of discovery and in addition acquisitions. So yeah, I believe it is a actually sturdy program regardless of a few of these adversities.
What main traits did you see rising in each the submissions and what would turn out to be the lineup?
John Nein: I believe there’s positively some persevering with traits. For instance what we’re responding to and have been for various years is no surprise, which is that there is nearly a relish in style, broadly talking. Not simply horror, however horror science fiction type of comedy, principally. I believe that the very fact is that the market is actually favorable in direction of distinctive style work. What’s cool about that, although, is that filmmakers are utilizing it in a very suave, expressive means. And so you may have individuals utilizing style to ask questions and to take care of race and to take care of actually attention-grabbing social questions. That is a development that is for positive persevering with. And we see creativity in style even like I discussed, science fiction.
I believe one of the crucial ingenious movies that we’re displaying within the pageant is Love Me (learn IGN’s evaluate right here), which additionally has nearly a gimmicky tagline. It is a buoy that falls in love with a satellite tv for pc informed over a billion years, and but it is so sensible about the way in which that it asks questions on AI, machine studying, being in consciousness. And it’s totally humorous, and it has Kristen Stewart and Steven Yeun, and it, I believe, has this formal innovation to it that simply tells me that unbiased filmmakers are seeing methods to make use of style in extremely artistic ways in which additionally nonetheless ask questions.
And it goes again to, I believe, a whole lot of movies that we might cite from the previous couple of years too. And also you do see additionally on this house a unbroken development in direction of biographical work that is actually true in nonfiction. We noticed so many attention-grabbing movies this 12 months about individuals like Frida Kahlo, Sue Chicken, Tammy Faye Bakker, Mavis Beacon, somebody who I believe many people did not essentially know, and but so many different individuals got here of age studying typing from this software program. And this can be a movie (In search of Mavis Beacon) that goes to hunt out who’s Mavis Beacon, so nearly a distinct type of biographical movie. And the band Devo, a biographical movie about them.
And then you definately even see that in fiction as effectively. There was a biopic about Rob Peace known as Rob Peace made by Chiwetel Ejiofor. It is a captivating story about an actual particular person. I imply, that is a development for positive. I believe the way in which that we have a look at it’s we’re looking for these works that permit us to open up the historical past that they are coping with in a means that’s deeper, extra refined, that lets us have a look at historical past by way of a distinct perspective. So I might say in the event you have a look at Devo, positive, it is a story of a band. Possibly some individuals realize it solely from their extra outward Whip It or one thing like that. What I see is a movie that appears on the potential of artwork and music to be conscious of its time. Devo is a band that got here out of Kent State, and it was a band that requested questions on how artwork may very well be conscious of society, and that is the place the entire concept of devolution got here. So positive, it is a biographical movie, but it surely’s a movie that’s actually, actually about every little thing that Sundance must be about, which is how is artwork conscious of its time.
You talked about the genres that we hold seeing pop up, and I believe this can be a actually, actually sturdy 12 months for docs. I believe two of the most important films – Will & Harper and Tremendous/Man: The Christopher Reeve Story – I imply these have been each documentaries and I believe there is a ton on the lineup. Was {that a} aware selection for you guys to essentially lean into that this 12 months?
John Nein: It wasn’t a aware option to lean in, and in reality, had you seen the huge pool from which we have been drawing, it might not even really feel like leaning in. It simply is that that may be a actuality of what is being made proper now. I believe that in these instances, within the ones that I discussed, it truly is a query of looking for the movies that talk extra broadly to themes and concepts and questions on society and one thing that basically exploits the probabilities that longform nonfiction has to inform deeper tales, to convey totally different views. I consider a movie that we confirmed known as Sugarcane, which I used to be doing the Q&A of that movie, and that is perhaps essentially the most shifting expertise I’ve ever had at Sundance. It was unimaginable. It is a story in regards to the residential faculties in Canada that forcibly eliminated kids from their properties, indigenous kids. And the story is framed by way of each investigative journalism but additionally private experiences. And that was true of one of many filmmakers. And so to me, it is an instance of the shape itself being totally different and extra resounding, I suppose, emotionally, intellectually than different varieties which can be on the market, investigative journalism or perhaps among the issues that you’d see in mainstream media. It is like, that is what we are able to do once we dedicate longform nonfiction to vital topics.
I additionally need to discuss to you in regards to the pageant expertise at giant since you guys have type of been compelled to evolve over the previous few years. You had the all-digital pageant and then you definately had final 12 months’s hybrid, and I really feel like this 12 months was totally again in motion, however you continue to have the digital screenings. So I am curious the way you guys steadiness prioritizing that in-person expertise that is so particular whereas additionally making the movies obtainable for individuals who cannot get out right here.
John Nein: Yeah, I imply, you mentioned it and it’s precisely that. It is a steadiness. The notion that the net pageant creates accessibility, we’re a spot that’s not simple to get to. It is a expensive pageant for some individuals. And so the notion that our competitions can be found to throughout the nation, to those that purchase these passes packages, is absolutely a part of what we’re about by way of creating accessibility. That’s true of trade as effectively too. We actually have an enormous variety of American press and trade who come to the pageant internationally as effectively, and but we all know that there are alternatives created for the movies by advantage of trade who’re watching them by way of on-line passes and packages too. So on one hand, you are creating that accessibility, and however, we’re being conscious of an trade that’s rightly stating that there’s a large vitality and vitality to the way in which that the movie meets the world. That first time in particular person in a theater with an viewers, with the press trade and attendance, there’s nothing like that. We have all the time identified that, and now we have advanced that hybrid mannequin with a purpose to attempt to steadiness these two issues as finest we are able to.
I additionally need to discuss to you about Sundance’s position within the film enterprise at giant, as a result of in the event you have a look at film enterprise on the whole, it is type of at this bizarre place. Like I mentioned, we had two strikes final 12 months. We’re on this time the place tentpoles are type of not doing so sizzling, and Sundance continues to be this beacon for indie filmmaking. So what do you suppose the trade can study from Sundance’s enduring success?
John Nein: Yeah, I believe it is a actually good query as a result of I believe ultimately, I have been right here for lengthy sufficient to see the ups and downs of the trade and to see different moments the place we have had difficult circumstances. We actually do right now as effectively for lots of various causes, however perhaps the type of brightest beacon is that now we have all the time identified that there’s a connection between artist and viewers that’s so clear at this pageant, the way in which that the movies are being acquired, the passion that there’s for them. To me, it’s an indicator that on the basic stage, there’s an urge for food for these movies. There’s a deep want amongst audiences to listen to private tales, unbiased tales, the sorts of creativity and innovation and pushing the shape that we put a showcase collectively on the pageant. That is what we consider in. That’s type of the muse.
After which while you have a look at, yeah, there are some questions that now we have to ask by way of the trade and launch fashions and distribution and financing, and these are tough issues, however I do suppose that many of the trade and the artists, the neighborhood, the indie neighborhood itself, I believe they strategy these questions from that type of step again and say, “however will we consider that there is worth to the work and that the viewers is there?” After which we simply obtained to determine the remainder.
What’s Sundance’s position in 2024 and is it totally different than it was 40 years in the past, or 20 years in the past?
John Nein: The sense that the purpose has all the time to be conscious of the altering panorama and to keep up our type of fastened star, which is how will we create alternatives for the unbiased storytellers? How will we facilitate the trade stuff? That is all the time been our purpose. In all probability what’s totally different are the intricacies of that and the way in which that now we have to acknowledge what’s taking place and alter just a little bit how it’s that we create these alternatives. Now we have to acknowledge what’s taking place within the panorama with a purpose to do the factor that we all know we’re right here to do, which is to uplift these tales and to create that time of reference to the viewers and with the trade.
I believe what I hear from people that I discuss to is that on this world the place there are challenges in theatrical and in launch fashions, it has by no means been extra vital to have festivals which can be there with a purpose to showcase the work with a purpose to create these alternatives. After which perhaps in some methods, with a purpose to spotlight work in a panorama the place there’s quite a bit, there’s a whole lot of noise. And so I believe that we go into this 12 months asking questions on how we’ll evolve subsequent 12 months and the way we’ll attempt to see what’s taking place out there, attempt to see what’s taking place with how movies are being made or in some instances not being made, and we’ll proceed to regulate the pageant in ways in which we expect will foster alternatives for the filmmakers.
To not put you on the spot, however while you discuss the way you need to evolve, are there any particular areas by which you do need to evolve?
John Nein: Yeah, I imply, I believe for instance, once we have a look at the acquisitions market, once we have a look at the way in which by which movies have visibility, and I am considering significantly inside press, significantly inside viewers response, how is that learn on-line, for instance, not on screenings, however in social media and issues like that. Once I consider these issues, it’s totally a lot with a watch towards how can we make it possible for there’s extra visibility and press protection for a few of these movies? How can we acknowledge that we might have to seek out methods to speak to the trade in regards to the movies in a greater means, or that I believe it is about creating alternative and it is about recognizing how that is altering and making an attempt to compensate for that.
But it surely’s additionally about, for instance, I might say we have a look at even movies which can be in launch, they have been acquired, or perhaps they already had a distributor after they got here to Sundance. What are the challenges that these movies have, and is there a means that Sundance Institute – not essentially simply through the interval of the pageant – however what’s our relationship to the work that goes out into the world? What’s our relationship to creating visibility even when it is being launched by one other firm or issues like that? What’s our relationship to making an attempt to get ourself unstuck from among the issues which can be problematic proper now? We simply had what we known as a suppose tank of corporations and producers and philanthropic pursuits and organizations, and it was actually for the aim of coming collectively and making an attempt to create some momentum in direction of options for this specific second when there are some challenges. So while you ask what’s it that our position in that may be, it is past merely the pageant, and it is the issues that we ask ourselves about what the broader institute can do as effectively. Yeah.
Is there something you have seen this 12 months that is obtained you want, “yeah, I really feel actually good in regards to the film enterprise and really feel actually good about what we’re doing”?
John Nein: Oh man. That is robust. Yeah, I imply, it is bizarre as a result of I really feel like there have been movies that take care of attention-grabbing questions, and but my hope is that they are going to be fashionable movies. They are going to be well-received. [I’m] considering of a movie like American Society of Magical Negroes, which I believe is a very sensible, biting satire that asks robust questions, however it’s a romantic comedy. It is extremely humorous. It is extremely witty and intelligent and charming, frankly. So to me, it is a movie that I believe type of squeezes into the nationwide dialogue and dialog in an attention-grabbing means. It simply made me blissful. And but I’m asking questions as effectively too. And so simply seeing how effectively that performed was actually, actually heartening.
Even a few of our worldwide movies, there was such a tremendous response for a Mexican movie that all of us actually love on our programming crew known as Sujo. Simply to see the viewers response to that. Not everybody flocks in direction of worldwide language movies, and to see that one get a standing ovation was superb. There is a movie known as Black Field Diaries that has some actually tough material, and but on the finish, the filmmaker was main the viewers in a karaoke of I Will Survive, which was a reasonably superb second to see. So yeah, I believe these heartening moments are every little thing that’s the type of highest quality of being in particular person. These are the issues that occur solely while you’re right here in particular person.
