How I Spent 2 Weeks In Park City
I’m taking a few days off from blogging to attempt to run 600 errands, sleep more than 6 hours a night and see people from outside film world land. In the meantime, here’s the whole rundown of what indieWIRE published over the past while (while you can see everything this blog published here).
INDIEWIRE SUNDANCE POLL
2009 indieWIRE poll of critics and bloggers re: the best & worst of Sundance
SUNDANCE LIVE
Sundance Live I: Redford, New Frontier and “Mary & Max” Kick Off Sundance ‘09
The 25th edition of the Sundance Film Festival began today in Park City, Utah, and indieWIRE was on the scene in what will be the first of a daily series of continuously updated dispatches. Today, Robert Redford was on hand to take questions at the fest’s opening press conference, Sundance’s New Frontier section kicked off a week of presenting innovation in cinematic culture, and Adam Elliot’s “Mary & Max” became the first Australian and/or animated film to open Sundance.
Sundance Live II: “Humpday” Premiere, “New” Storytelling, and “Copy” and “Max” Snapshot Reviews
In indieWIRE’s second Sundance Live at the 2009 Sundance Film Festival, film critic Eric Kohn offers a quick take on Sundance’s opening night film, “Mary and Max,” by animator Adam Elliot and Doug Pray’s doc about the advertising world, “Art and Copy.” Eugene Hernandez covers the premiere screening of Lynn Shelton’s “Humpday” at the Eccles, while Peter Knegt gives the lowdown on the New Frontier panel “Creating New Media in the Service of Storytelling.”
Sundance Live III: Anna Wintour Hits Park City, “Amreeka,” “Rudo y Cursi,” “Push,” More
In indieWIRE’s third Sundance Live at the 2009 Sundance Film Festival, film critic Eric Kohn offers quick takes on Dramatic Competition entries “Amreeka” and “Push,” as well as Carlos Cuaron’s “Rudo y Cursi.” Also covered are the premieres of “The September Issue,” “Push,” “Rudo y Cursi,” “Art & Copy,” and more, all of which indieWIRE was on the scene for.
Sundance Live IV: Panel on Prop 8, Strand, “Kimjongilia,” “Burma VJ,” “Reporter,” More
In today’s Sundance Live, Peter Knegt takes notes from a panel on the Prop 8 controversy, Eugene Hernandez covers the anniversary celebration of Strand Releasing, Brian Brooks reports on the screenings of “William Kunstler: Disturbing the Universe,” “Burma VJ,” and Kimgjongilia, film critic Eric Kohn offers snapshot reviews of “Boy Interrupted,” “The Greatest” and “Reporter”, and Andy Lauer reports on the premiere of “500 Days of Summer.”
Sundance Live V: “Phillip Morris,” “Drown” Premieres, Reviews: “Adventureland,” “Hideous Men”
In today’s Sundance Live, Peter Knegt reports from the the world premiere of “I Love You Phillip Morris,” film critic Eric Kohn offers quick takes on “Good Hair,” Robin Williams’ latest, “World’s Greatest Dad,” and “I Love You Phillip Morris,” James Israel is on hand for the premiere of “Don’t Let Me Drown,” and Andy Lauer reports on the premiere of Joe Berlinger’s documentary “Crude.”
Sundance Live VI: “Girlfriend Experience,” “Education,” “Season” Deals, LGBT Panel, “Dare” Premiere
In today’s Sundance Live, Eric Kohn and James Israel report on a sneak peek of Steven Soderbergh’s new film, “The Girlfriend Experience,” Peter Knegt reports from a panel at Main Street’s Queer Lounge, and Andy Lauer reports on the premiere of “Dare,” and studios make deals on “An Education” and “Winning Seasons.”
Sundance Live VII: “Dirt” Scuffle, “Snow” and “Objective” Deal, “Zion,” “Clone” “Missing” Reviews
Today from Sundance, Bill Benenson’s “Dirt!” causes a post-screening scuffle, IFC makes a deal for a midnight title and Eric Kohn reviews “The Clone Returns Home” and “Zion and His Brothers.”
Sundance Live VIII: “Cove,” “Barking” Reviews, “Motherhood,” “Cold Souls” and Oscar
Today from Sundance, Eric Kohn gives snapshot reviews of “The Cove” and “Barking Water,” while Peter Knegt reports on the world premiere of Katherine Dieckman’s “Motherhood,” a screening of Sophie Barthes’ “Cold Souls,” and regarding the Sundance alums that received Oscar nods this morning.
Sundance Live IX: “Yes Men,” “In The Loop” Reviews, “Arlen Faber”
Today from Sundance, Eric Kohn gives snapshot reviews of “The Yes Men Fix The World’ and “In The Loop,” while Peter Knegt reports from a screening of “Arlen Faber.”
Sundance Live X: Reviews of “500 Days,” “Moon,” “Peter and Vandy”
Today from Sundance, Eric Kohn gives snapshot reviews of “500 Days of Summer,” “Moon” and “Peter and Vandy.”
NEWS
“Push” Wins Three at Sundance; “Public” Top Doc
Arthouse Films Gets “Art & Copy” at Sundance
Updated: Ashton Kutcher’s “Spread” Sale Stirs Sundance
Sony Classics Going to the “Moon” in June
IFC Films Laughs Up “Loop” for the U.S.
Magnolia Takes “Humpday”; Film Will Go From VOD to Theatrical This Summer
IFC Teams With SXSW To Release Swanberg’s Latest, Four Others
“Dynamite” Deal for Sony and Other Deals In The Works
Visit Films Takes Global Rights to Sundance’s “Kimjongilia” and “Little Dizzle”
Senator Takes “Brooklyn’s Finest” in First Major Deal of Sundance ‘09
REVIEWS
Launching Diversity: Sundance ‘09 Wrap Up (Eric Kohn)
A Quieter Sundance, But The Films Still Made Noise: Sundance ‘09 Wrap Up (Steve Ramos)
24 Sundance ‘09 Snapshot Reviews
Portraying Chaos: Ondi Timoner’s “We Live In Public” (Sundance ‘09)
Youth Rebellion: Cary Joji Fukunaga’s “Sin Nombre” (Sundance ‘09)
A Tender Urban Love Story Grows During 9/11: ‘Don’t Let Me Drown” (Sundance ‘09)
An Engaging Portrait of Obsession: Robert Siegel’s “Big Fan” (Sundance ‘09)
Chancy, Over-The-Top ‘Vicious Kind’ is a Mixed Success (Sundance ‘09)
Coming-of-Age Drama “An Education” Is a Triumph for Director and Star (Sundance ‘09)
“Bronson”: Refn’s Crazed Vision of Ultraviolence (Sundance ‘09)
Move Aside Michael Moore, Charlyne Yi Breaks Out in Comic Doc “Paper Heart’” (Sundance ‘09)
The Peculiarities of Soullessness: Sophie Barthes’ “Cold Souls” (Sundance ‘09)
Dreamlike Images Bring Undeniable Sparkle to London Romance “Unmade Beds” (Sundance ‘09)
Race Drama “Toe to Toe” Ushers in the New Obama Cinema (Sundance ‘09)
Beyond Gay: Lynn Shelton’s “Humpday” (Sundance ‘09)
INTERVIEWS
“Adventureland” Director Greg Mottola on First Jobs and Generation Gaps
Emily Abt, “Toe to Toe”: Privelege, Responsibility, and Public Service
Cruz Angeles, “Don’t Let Me Drown”: Daydreams, Grief, and Hope
Greg Barker, “Sergio”: Politics, War, and Moral Complexity
Sophie Barthes, “Cold Souls”: Dreams, Psychoanalysis, and the Shape of the Soul
Joe Berlinger, “Crude”: Returning To One’s Artistic Roots
Noah Buschel, “The Missing Person”: Trusting Your Instincts and Avoiding Indie Cliches
Peter Callahan, “Against the Current”: Imagination, Stress, and the ’70s
Tze Chun, “Children of Invention”: Pyramid Schemes, Herbalife and Collaboration
R.J. Cutler, “The September Issue”: Vogue, a Queen and Good Films
Lee Daniels, “Push”: Education, 300lb Black Girl, and Human Carnage
Jay DiPietro, “Peter and Vandy”: Theater, Music, and Collaboration
Adam Elliot, “Mary and Max”: Flaws, Limitations, and Possibilities
Shana Fest, “The Greatest”: Triumph, Tragedy, and Honest Emotion
Cary Joji Fukunaga, “Sin Nombre”: Border Crossings, Authenticity, and Authorship
Bob Goldhwait, “World’s Greatest Dad”: From Bag Boy, to Actor and Director
Sterlin Harjo, “Barking Water”: Relationship, a Closed Theater, the American Indian
John Hindman, “Arlen Faber”: Spirituality and Fathers and Sons
Producer Rupert Isaacson, “Over the Hills and Far Away”: Shamans, Mysticism, and a Family’s Journey
Ross Katz, “Taking Chance”: Iraq, War and Shame
John Krasinski, “Brief Interviews with Hideous Men”: Adapting a Literary Masterwork for the Screen
Emily & Sarah Kunstler, “William Kunstler: Disturbing the Universe”: Family, Legacy & Social Justice
Jeff Lipsky: “Once More with Feeling”: Childhood, Honesty, and Immortality
Derick Martini, “Lymelife”: Artistic Honesty, Perfection, and Success
Quincy Newell, “Why We Laugh”: Comedy, Race, and Positive Representation
Louie Psihoyos, “The Cove”: An Ecological Crisis and Green Filmmaking
Gene Rosow, “DIRT! The Movie”: Dirt, Sustainability, and Reconnecting with the Land
David Russo, “The Immaculate Conception of Little Dizzle”: Shakespeare, Mixed Media, and “Tommy”
Director Adam Salky and Writer David Brind, “Dare”: Collaboration, Emotion, and High School Drama
Lynn Shelton, “Humpday”: Masculinity, Sexuality, and Boundaries
Robert Siegel, “Big Fan”: Superfans, New York, and Doing It Yourself
Ondi Timoner, “We Live in Public”: Authenticity, Emotionality, and Technology
Kevin Willmott, “The Only Good Indian”: Westerns, Representation and Revisionism
Pamela Yates, “The Reckoning”: Social Networking and Grassroots Advocacy
