An interview with Christopher Abbott, star of "James White."
A review of James Ponsoldt's "The End of the Tour" with Jesse Eisenberg and Jason Segel.
A dispatch from Sundance 2015 with "The Bronze," "White God," "What Happened, Miss Simone?," and more.
A review of "Stockholm, PA" from Sundance 2015, starring Saoirse Ronan, Cynthia Nixon, and Jason Isaacs.
Memories of over a decade going to the Sundance Film Festival and tips for newcomers.
"Eyjafjallalokull" is a stunning and moving video art installation that played at Sundance in the "New Frontier" art exhibition space. I visited the piece several times. Nicolas Boritch, director of the AntiVJ visual label and producer of "Eyjafjallalokull" ("The Volcano" for short) wants to put viewers in a space where "they just forget where they are and they forget about understanding anything because we want to leave a lot of space for the audience to create their own story or to find whatever they want to find."
Paul Rudd walked by me on Main Street in Park City wearing reflective sunglasses so I couldn't see if his eyes could see that my eyes saw him and were staring. I knew it was him from the way he walked. I can recognize a gait a mile away. But I didn't know yet that "Prince Avalanche" was a masterpiece or I could've had a good conversation starter.
Rob Epstein and Jeffrey Friedman's "Lovelace" tells the story of the eponymous porn star who stunned the world with her sexual talents in "Deep Throat" (1972), only to pay a dear price for her brief flash of celebrity. Linda Lovelace, as played by Amanda Seyfried, was a love-hungry, innocent young girl led astray by Chuck Traynor, a manipulative pimp of a husband, whose affection quickly turned into exploitation.
Why is it that the culture surrounding art is so far removed from the process of making that art? I suspect this week is hell for many filmmakers here. The world you have to exist in as a great artist (one that values the interior over the exterior, the spiritual over the corporeal) is directly opposed the world you have to exist in to get your movie made. I wonder how many other people here are wondering what's wrong with them. How many people are pretending they love partying in order to not feel like a weirdo.
The Disney mystique is a secular religion so global, powerful and self-contained -- not to mention litigious -- that it practically courts desecration. Randy Moore's "Escape from Tomorrow," which just premiered at Sundance and is unlikely to come to a theater near you any time soon, is the boldest act of cinematic violation at least since the "Mickey Mouse Club" finale of Stanley Kubrick's "Full Metal Jacket" (in which scores of American soldiers in Vietnam adopted the show's anthem as a deranged battle cry).