As published on LinkedIn Influencers on January 18th, 2018.
Every year around this time, I pound the vitamins, enable my email’s auto reply, and mentally prepare myself for the fact that I won’t be getting a good night’s sleep for the next two weeks. I do this because every year, the last two weeks of January are completely taken over by the Sundance Film Festival. From opening night to the closing awards show and party, Sundance is 11 days of films, events, panels, and parties, and this year will be no different. Or maybe it will be?
This is the first Sundance in a post-Harvey Weinstein era. This is the first Sundance since the sexual harassment and abuse scandal that has rocked Hollywood since last fall, and this is the first Sundance since the tide of change has swept through the entire industry. This is a topic that will be sure to dominate conversations, panels, and Q&As, and on Saturday, January 20th, a Respect Rally will be held in Park City to commemorate the one year anniversary of the Women’s Marches and last year’s March on Main (disclosure: I am a sponsor of the Respect Rally). It has also resulted in changes such as a very visible and thoughtful policy around code of conduct. The Sundance Institute is proudly partnering with the Utah Attorney General’s office to provide a 24 hotline to report code violations.
The theme of Sundance this year is the relationship between the storyteller and the audience. If this past year has taught us anything, it’s that stories matter now more than ever, but even more important than the story is that the story gets heard and absorbed. Or in this case, seen. Women and men have been telling their stories of abuse and misconduct for decades, but often through secret channels and whisper networks out of fear of retribution. Allegations of sexual harassment and assault are sadly nothing new, but what’s changed in the past several months is that people are finally ready to listen to these stories, to believe these stories, and finally, FINALLY, we are ready to do something about them. Stories matter, but so does the audience and how these stories are received, and I look forward to delving deeper into this issue over the coming days of the festival and beyond.
The destiny of the world is determined less by battles lost and won than by the stories we come to love and believe in. – H. Goddard.
Now on to the festival…
This year’s festival is featuring 238 works altogether, including 122 feature films and 69 short films. Altogether, the Sundance Institute received over 13,000 submissions for the 2018 festival, and I can’t wait to see what made the cut. In addition to these films, an entirely new category is debuting for indie episodic work, which is a testament to the growing presence of this medium. While this content has previously been screened at Sundance as featured programming, episodic work is now being recognized as the force it truly is with its own section within the festival. Sundance is also debuting two new awards, including the Festival Favorite to be determined by audience ballot across all screenings of all feature films, and the NEXT Innovator Award that will be presented by RuPaul. There’s also a brand new theatre, incredible works and technology to discover in the New Frontier VR and AR section, and with over 46 countries represented, this year’s festival is truly an international affair.
It is also a year of increased representation for women. Earlier this month at the Golden Globes, Natalie Portman made a point of recognizing that yet again the nominees for Best Director were all male, despite the fact that Greta Gerwig’s Lady Bird won one of the top awards of the night as the Best Comedy or Musical. In a far cry from Hollywood, where only 4% of the directors of the top grossing films of the past 11 years were women, 42% of all features and shorts that are to be screened at Sundance this year are directed by women (37% of features and 51% of shorts). This represents a 4% increase in female directors of features over 2017, and a 3% overall increase in female directors. One can only hope that those numbers will continue to go up in the years to come.
As I look over my schedule for the next 11 days, I can’t help but feel equal parts exhilarated and exhausted, and I wouldn’t have it any other way. You can follow the conversation online with #Sundance2018 and follow my adventures at @JackiZehner on Twitter. Below are a list of some of the films I’ll be seeing over the coming days, with descriptions pulled from the festival program. New this year are Meet the Artist videos on many of the pages, but you can also find them on Youtube HERE. If you’re in Park City happy festing! And if not, I’ll be back after the festival is over with my best of the fest of films to look out for in cinemas in the coming months.
Blindspotting – Collin is trying to make it through his final days of probation for an infamous arrest he can’t wait to put behind him. Always by his side is his fast-talking childhood bestie, Miles, who has a knack for finding trouble. They grew up together in the notoriously rough Oakland, a.k.a. “The Town,” which has become the new trendy place to live in the rapidly gentrifying Bay Area. But when Collin’s chance for a fresh start is interrupted by a life-changing missed curfew, his friendship with Miles is forced out of its comfortable buddy-comedy existence, and the Bay boys are set on a spiraling collision course with each other. Exploding with energy, style, and raw emotion, Blindspotting unravels today’s intersection of race and class with urgent and poetic justice. This is the opening night film tonight!
Private Life – Rachel (Kathryn Hahn) and Richard (Paul Giamatti) have been repeatedly trying to get pregnant, undergoing multiple fertility treatments while also exploring adoption and other options. As they hit obstacles and face up to the reality of their chances, their strained marriage seems to be further than ever from completing the elusive path to parenthood.
Monsters and Men – One night, in front of a bodega in Brooklyn’s Bed–Stuy neighborhood, Manny Ortega witnesses a white police officer wrongfully gun down a neighborhood street hustler, and Manny films the incident on his phone. Now he’s faced with a dilemma: release the video and bring unwanted exposure to himself and his family, or keep the video private and be complicit in the injustice?
Juliet, Naked – Annie is stuck in a long-term relationship with Duncan—an obsessive fan of obscure rocker Tucker Crowe. Duncan is far more devoted to his music idol than to Annie. When the acoustic demo of Tucker’s hit record from 25 years ago surfaces, it leads to a life-changing encounter between Annie and the elusive rocker himself.
Eighth Grade – Eighth-grader Kayla Day always has her phone in hand, hoping to find connections online that might make up for those she’s unable to forge in everyday life. She makes YouTube videos aimed at other adolescents dealing with similar issues—feelings of isolation, anxiety, and invisibility—but after so easily summoning this wisdom and confidence when addressing her (barely existent) audience, Kayla finds it paralyzingly difficult to apply in real situations. In the final week of a thus-far-disastrous school year—and with high school looming on the horizon—Kayla struggles to bridge the gap between how she perceives herself and who she believes she should be.
The Tale – Jennifer, a globetrotting journalist and professor, lives an enviable life with her boyfriend in New York City. That is, until her mother finds a story Jennifer wrote at age 13 depicting a “special” relationship with two adult coaches. Reading the yellowed pages of “The Tale,” Jennifer discovers the coded details she composed 40 years earlier are quite unlike her recollection. Deeply shaken yet determined to square her version of events with the truth, Jennifer sets out to find her two coaches. Returning to the Carolina horse farm where so much transpired, Jennifer’s gangly yet tenacious seventh-grade self reawakens, and the loving stories she told herself for decades begin to unravel.
Leave No Trace – For years Will and his teenage daughter, Tom, have lived off the grid, blissfully undetected by authorities in a vast nature reserve on the edge of Portland, Oregon. When a chance encounter blows their cover, they’re removed from their camp and put into the charge of social services. Struggling to adapt to their new surroundings, Will and Tom set off on a perilous journey back to the wilderness, where they are finally forced to confront conflicting desires—a longing for community versus a fierce need to live apart.
I Think We’re Alone Now – Del (Peter Dinklage) is alone in the world. Literally. After the human race is wiped out, he lives in a small, empty town, methodically going from house to house, collecting batteries and other useful items, and burying the dead. He dines alone, reads, watches movies, and shelves books in the local library he’s made his home. He’s content in his solitude—until he discovers Grace (Elle Fanning), an interloper on his quiet earth. Her history and motives are obscure, and worse yet, she wants to stay.
Inventing Tomorrow – Indonesia, India, Mexico, Hawaii, and many other countries, communities, and islands are rife with the ravages of environmental degradation. But hope comes with a surprising—and touching—group of young people. Meet six brilliant high school students as they prepare for the world’s largest high school science competition: the Intel International Science and Engineering Fair (ISEF). Inspired by the issues and problems they’ve witnessed in their own communities, these teens propose big ideas and ingenious solutions to the world’s environmental challenges. With unfettered minds and ambition, they descend upon Los Angeles to participate in ISEF and meet thousands of their peers from all over the world. Soon, a sense of global community forms, focused on making the world a better place.
Come Sunday – Every Sunday, Bishop Carlton Pearson—evangelical megastar, brilliant orator, and television host with millions of followers—preaches the fundamentalist gospel to six thousand supplicants at his Higher Dimensions Church. He’s the pride and joy of his spiritual father, Oral Roberts, and the toast of Tulsa. One day, rattled by an uncle’s suicide and distraught by reports of the Rwandan Genocide, Pearson receives an epiphany. Suddenly it’s crystal clear—God loves all humankind; everyone is already saved, whether Christian or not; and there is no hell. But these ideas are heretical, violating sacrosanct doctrines.
Monster – Steve Harmon, a bright, sensitive 17-year-old, stands trial for acting as a lookout during the lethal armed robbery of a Harlem bodega. Before his arrest, he was an honors student and aspiring filmmaker taking street-level snapshots and on-the-fly footage of neighborhood life. Now, Steve is seen as just another young black criminal, assumed guilty and labeled a monster. But Steve and his lawyer declare his innocence and attempt to defy the odds in a bid to win his freedom.
Beirut – Mason Skiles (Jon Hamm), a top U.S. diplomat, left Lebanon in the 1970s after a tragic incident. Ten years later, the CIA calls him back to a war-torn Beirut with a mission only he can accomplish. Meanwhile, a CIA field agent who is working undercover at the American embassy is tasked with keeping Skiles alive and ensuring that the mission is a success. Without knowing who is on his side and with lives on the line, Skiles must outmaneuver everyone to expose the truth.
Burden – Mike Burden (Garrett Hedlund) is a taciturn repo man rising through the ranks of the Ku Klux Klan in small-town South Carolina, 1996. Orphaned as a child, he is fiercely loyal to local Klan leader and toxic father figure Tom Griffin (a terrifying Tom Wilkinson). But Burden has a change of heart when he falls for Judy (Andrea Riseborough), a single mother who stirs his social conscience. His violent break from the Klan sends him into the open arms of Reverend Kennedy (Forest Whitaker), an idealistic African American preacher, who offers him safety and a shot at redemption.
Damsel – It’s a classic tale of the Old West: Samuel Alabaster is a man searching for his true love. Parson Henry is another, much drunker man, searching for a new start. Penelope is a woman who has found her own path. And Rufus Cornell is just a mean bastard with a taste for buckskin. There’s rotgut, rawhide, rootin’, tootin’, and hootin’. Plus, a little tiny horse.
A Kid Like Jake – Loving parents Alex (Claire Danes) and Greg (Jim Parsons) are faced with the daunting task of applying to private kindergartens in NYC for their 4-year-old, Jake. Competing in this cutthroat environment means focusing on what is most unique about a child, forcing Alex and Greg to consider Jake’s love of dresses, fairy tales, and princesses. These qualities never seemed unusual before, but when Jake begins to act out in preschool, Alex and Greg—suddenly at odds—must find a way to support Jake’s identity without losing each other in the process.
Sorry to Bother You – Cassius Green (Lakeith Stanfield), a 30-something black telemarketer with self-esteem issues, discovers a magical selling power living inside of him. Suddenly he’s rising up the ranks to the elite team of his company, which sells heinous products and services. The upswing in Cassius’s career raises serious red flags with his brilliant girlfriend, Detroit (Tessa Thompson), a sign-twirling gallery artist who is secretly a part of a Banksy-style collective called Left Eye. But the unimaginable hits the fan when Cassius meets the company’s cocaine-snorting, orgy-hosting, obnoxious, and relentlessly optimistic CEO, Steve Lift (Armie Hammer).
Three Identical Strangers – New York, 1980: Three complete strangers—Bobby Shafran, Eddy Galland, and David Kellman—make the astounding discovery that they are identical triplets. Separated at birth, adopted, and raised by three different families, the 19-year-olds are reunited by chance. Their story sets the tabloids on fire, and the triplets suddenly become famous around the world.
What They Had – During a bout of dementia, Ruth (Blythe Danner) gets out of bed at night and wanders off into a blizzard. Ruth’s brief disappearance triggers the homecoming of her daughter Bridget (Hilary Swank) and teenage granddaughter Emma (Taissa Farmiga). The episode also renews lifelong tensions between stubborn patriarch Burt (Robert Forster) and estranged son Nicky (Michael Shannon). As they all debate placing Ruth into a memory-care facility, family ties begin to fray, rekindling a rivalry between the adult siblings.
Generation Wealth – Over the past 25 years, Lauren Greenfield’s documentary photography and film projects have explored youth culture, gender, body image, and affluence. In this fascinating meld of career retrospective and film essay, Greenfield offers a meditation on her extensive body of work, structuring it through the lens of materialism and its increasing sway on culture and society in America and throughout the world. Underscoring the ever-increasing gap between the haves and the have-nots, her portraits reveal a focus on cultivating image over substance, where subjects unable to attain actual wealth instead settle for its trappings, no matter their ability to pay for it. I know Lauren personally and she is an incredible person and filmmaker. Amongst her many film credits she also did the game changing video, LIKE A GIRL.
NANCY – Nancy is a 35-year-old temp living with her mom and cat in a modest home in a modest town. She is also an aspiring writer whose submissions are consistently rejected by the likes of the Atlantic and the Paris Review. To make up for these failures and the invisibility she feels, Nancy spins elaborate lies and hoaxes under pseudonyms on the internet. When she encounters a couple whose 5-year-old daughter went missing 30 years ago, fact and fiction begin to blur in Nancy’s mind, and she becomes increasingly convinced these strangers are her real parents.
Loveling – Irene is raising four rambunctious sons in a home that is physically crumbling but warm and happy. As Irene simultaneously shelters her sister Sonia (who just left a volatile marriage), supports her own husband through a financial crisis, and plans her own long-awaited high school graduation, Irene’s eldest son, Fernando, suddenly announces he has been recruited by a professional handball team in Germany and will be leaving in just three weeks. Consummate caretaker Irene prickles at the idea of emancipating the 16-year-old so he can travel and live alone, and she becomes increasingly anxious about what her future holds.
Seeing Allred – As described in the film guide, to some, Gloria Allred is a money-grubbing, shrill feminist prone to tawdry theatrics; to others she’s the most effective and fearless women’s rights attorney in America. In this intimate, warts-and-all documentary, one thing is certain: Allred’s 40-year devotion to asserting, protecting, and expanding the rights of women is unwavering and her influence unassailable. She is also scheduled to speak at the the rally.
Lizzie – 1892: Headstrong Lizzie Borden lives with her wealthy father, stepmother, and sister in Fall River, Massachusetts. Lizzie lovingly tends to her pet pigeons and is occasionally allowed out of her dimly lit, foreboding house, but otherwise lives under strict rules set by her domineering father. When her family hires live-in maid Bridget, an uneducated Irish immigrant, the two find kindred spirits in one another. Their friendship begins with covert communication and companionship that blossoms into an intimate relationship. Meanwhile, tension builds in the Borden household, and Lizzie’s claustrophobic existence becomes increasingly more oppressive and abusive, leading to its inevitable breaking point.
Hearts Beat Loud – As single dad Frank (Nick Offerman) prepares to send hardworking daughter Sam (Kiersey Clemons) off to UCLA pre-med, he also reluctantly realizes he has to accept that his own record-store business is failing. Hoping to stay connected with his daughter through their shared love of music, he urges her to turn their weekly “jam sesh” into an actual band. Channeling Sam’s resistance into a band name, they unexpectedly find We’re Not a Band’s first song turning into a minor Spotify hit, and they use their songwriting efforts to work through their feelings about the life changes each of them faces.
The Long Dumb Road – Not far down the highway from his childhood home in Texas, Nathan’s car breaks down on the drive to his freshman year of art school in Los Angeles. Richard, a local mechanic, agrees to fix the car as long as Nathan helps Richard escape his bastard of a boss. On the way out of town, Richard pounds a road beer or three, sparks a joint, and begins to question why young Nathan is lacking a clear philosophy about the rest of his life. As they venture on, these two strangers will battle through bar fights, heartache, and many more unfortunate detours to make it to their next destinations in life. This is a film that I am personally invested in through the film Fund Gamechanger.
On Her Shoulders – Mobbed by iPhone cameras and pushy reporters, 23-year-old Nadia Murad leads a harrowing but vital crusade: to find the most influential platforms in the world and speak out on behalf of the embattled Yazidi community who face mass extermination by ISIS militants. Having narrowly escaped with her own life, Nadia must now relentlessly recount on radio shows, at rallies, and even on the floor of the United Nation’s general assembly her ordeal as a Yazidi sex slave and witness to her family’s brutal killings. Though excruciating, she forces herself to revisit these realities again and again. For without her testimony, the genocide happening right in front of the world’s eyes might go completely unnoticed.