A Message

Black and Indigenous Voices Matter

As awful as some of the images on the news have been lately, we are encouraged by the outpouring of righteous anger and the desire for constructive change. But the events that incited the protests have been happening for many many years, both here in Canada and around the world, and things won’t change overnight. It’s hard to know what to say, or what to do, especially as a small arts organization. But we are committed to sharing the stories of underrepresented communities and to supporting other organizations who do so. Meanwhile, we acknowledge our need to listen and to learn and to always do better.

Some organizations that we support that could use your help:

Call for Entries 2020

Call for Entries 2020

Did you know our call for entries is now open? We’d love to see your short films under 20 minutes in any of these categories: narrative, documentary, or animation. Our Early Bird deadline is March 27 and that means that fees are the lowest they’re going to be, so hurry up and submit!

BONUS: If you subscribe to our newsletter, we’ll send you a code that will give you an additional 15% off the fee! Subscribe here! (Sorry, but existing subscribers already received the discount code).

Sundance 2020: Day 13

Post-Movie Views Sundance 2020

Festival Director James McNally is attending this year’s Sundance Film Festival from January 21st to February 2nd.

Festival Day 11

With all my work completed, this last day of Sundance always turns out to be the day I actually get to see movies, and this year was no different. I was up early and out of my festival lodgings by about 9:15am. I was able to store my suitcase at the Park Avenue Hotel (formerly the Yarrow) and grab a coffee at Starbucks before heading back to HQ one last time to drop off my key and say some goodbyes. The poor AR staff had to be in the office at 8am today (no mercy at all, considering there was a party last night). I gave Terry a hug goodbye and waved to the rest of the sleepy Sundancers before heading to the Park Avenue Cinema for my first film of the day. Sunday is when they show all the award winners so it’s a good way to catch up on stuff that might have been sold out or difficult to get to earlier in the festival.

My 11:00am screening was of Josephine Decker’s Shirley, an eerie and impressionistic story based on the life of author Shirley Jackson (who wrote some haunting short stories, including “The Lottery”). As played by Elisabeth Moss, Jackson was eccentric at best and was often deeply depressed and unable to write. Her husband Stanley Hyman (an excellent Michael Stuhlbarg) was often bullying and manipulating her, and their relationship seems to have been both codependent and sexless. When a young couple move in (the young man to assist the professor at school, and his pregnant wife to help keep up the house), the dynamics grow even stranger. I loved the performances, the script, and the visual style, but the ending confused me a bit. Still, an interesting film that I’d like to revisit sometime.

From there it was a short walk to the Holiday Village Cinemas to catch Maïmouna Doucouré’s Cuties. I’d loved her short film Maman(s), which we showed at Sundance back in 2015. Her feature debut borrows quite a lot from the short, and both are based on events in her own life. 11 year-old Amy joins a group of girls in a dance competition while dealing with the news that her father has taken a second wife and will be bringing her back from Senegal soon. Amy’s navigation of two cultures, one religious and traditional, and the other modern and secular, form the core of the story. Watching this group of tweens dance in an exaggeratedly sexy style is often disturbing, even as we recognize the talent. Amy’s desire to fit in lead her to some extreme behaviour that puts her at odds with her mother, but in the end, she finds a middle ground and the final shot, of Amy dressed simply as an 11 year old girl and jumping rope until she rises into the sky, is profoundly moving. In fact, several magic realist touches in the film add splashes of humour, menace, and joy. Doucouré has more than delivered on her early promise, and in addition, the central performance of Fathia Youssouf is simply astounding. I believe this will be making its way to Netflix soon, so hopefully it will be seen by a lot of people all over the world.

After a quick lunch at Burger King, it was over to The Ray at 3:30pm for I Carry You With Me, the dramatic feature debut of Heidi Ewing (half of the duo, with Rachel Grady, who made such outstanding documentary features as Jesus Camp, The Boys of Baraka, and 12th and Delaware). The film tells the true story of the romance between Ivan and Gerardo, two Mexican men who meet in the 1990s. Ivan dreams of becoming a chef, and decides to cross the border into the US to achieve his dream, leaving not only Gerardo but his young son, too. The early part of the film uses actors to recreate the couple’s meeting and Ivan’s journey to America. When it comes into the present, the film becomes a documentary, using the real Ivan and Gerardo to tell us the rest of the story. It’s a lovely and often heartbreaking tale, and the actors are excellent, but the mixture of styles didn’t completely work for me. Still worthy of your time, and I look forward to seeing where Heidi Ewing’s filmmaking goes next.

After that it was time to be picked up once again by Susan’s shuttle. I’m staying at the Comfort Suites near the airport and was able to catch the last few minutes of the Super Bowl, which was very entertaining. The weather this festival has been exceedingly mild, but they’re calling for a storm overnight, which might delay my flight. Crossing my fingers that it won’t. I’m looking forward to getting home. Our festival submissions open tomorrow and Sundance has me excited to see what’s in store.

P.S. This morning at HQ I ran into James, another volunteer I’ve seen over the past few years. It seems that we always end up seeing films together on the last day and getting the shuttle to SLC together, and that was the case again this year, except that he chose to see Minari at the Eccles at 3:30pm. Everyone is raving about that one, so I hope to catch up with it soon.

Sundance 2020: Day 12

AR Volunteers, Sundance 2020

Festival Director James McNally is attending this year’s Sundance Film Festival from January 21st to February 2nd.

Festival Day 10

Saturday meant I was back to work again, on the Awards Ceremony and Party. This year I was able to avoid being in the early group which meant that I could meet up with Terry and Bryan for lunch at Anaya’s Market. We met at HQ at 1:30pm and then walked over. I ordered a burrito but realized I wouldn’t be able to eat it all. I’d bought a one pound container of mac and cheese from the Deer Valley Grocery Cafe the day before and, not wanting to waste it, ate it as a late breakfast. Nevertheless, the burrito was tasty and great value, and Anaya’s Market has quickly become one of my favourite places to eat in Park City. Hopefully the Sundance masses don’t discover it.

After lunch, we went back to HQ to await our 3:15pm pickup to go to the Basin Auditorium in Kimball Junction. We already gave out all of our awards on Tuesday night and most of our teams had gone home, so there wasn’t really much for us to do. We sort of watched the entrance for any of our teams (three or four were attending) and then were able to go inside when the ceremony began. There was no host this year, but the juries and some Sundance staff were onstage. It was John Cooper’s last year as Executive Director, and he performed an inspired lip sync and dance to “Last Dance” accompanied by some dancers. Then they announced longtime Documentary Program director Tabitha Jackson as his replacement, and the whole audience erupted in cheers and rose to their feet. I don’t know her, but I am certain the festival has been passed into very capable hands.

After the ceremony concluded, the Artist Relations volunteers carried out our traditional chair clearing and stacking duties so that the seated area could be transformed into the dance floor. After that, we took off our walkies for the last time and got to enjoy the party.

I took some photos with people, shared drinks and conversations, and walked around until about 12:30pm and then just took a shuttle home. There was talk of an afterparty somewhere but I really wasn’t all that interested. That’s not to say that I didn’t have a fine time. When people asked me how my festival was this year, I responded that somehow it felt easier. Of course my eyesight is better, but I just think doing it five times makes it easier to budget my time and energy.

The above photo was taken by Maya Ochoa, one of our new Artist Relations Volunteers this year. From left to right, front row first, there’s James McNally (me!), Gabe Figueroa, Maya Ochoa, Victoria Sardaby, Veronica Medina-Matzner, Sreb Noeva, (back row) Jess Kincaid, Fabiola Bonnot, and Marci Manklow.

Sundance 2020: Day 11

Max Richter Plays Sleep Sundance 2020

Festival Director James McNally is attending this year’s Sundance Film Festival from January 21st to February 2nd.

Festival Day 9

Slept until 9am again but had a good plan to see stuff today. First up was the new Ross Brothers film, Bloody Nose Empty Pockets, about the last day of a Las Vegas dive bar. The film starts with a very 70s style opening title sequence set to Buck Owens’ “Big in Vegas” so it sets you up for an almost Altmanesque tableau of multi-faceted characters. The bar is a home for many of the hard-drinking, hard-living patrons. There is no hiding the damage that alcohol can do to people, but there is also a lot of genuine love between these people that a lot of society would call losers. Knowing their previous work, I knew the film wasn’t strictly a documentary, and the directors admitted afterwards that the bar is a bit of a construct. It was not closing, and the patrons were brought together for the film shoot, though most were nonprofessionals. It’s still unscripted and from all accounts the drinking was real, so it does capture a set of themes the filmmakers were trying to communicate while still feeling truthful, at least to me. Turner Ross said he saw Eugene O’Neill’s play The Iceman Cometh when he was 9 years old and that that was a huge influence on the film. In any case, another strong entry from the Ross Brothers, and this one should appear in Toronto at Hot Docs in a few months.

I had to surreptitiously turn my phone on during the film to get onto the eWaitlist for Max Richter’s Sleep, which was screening at the Egyptian at 2:30pm, and then race over after my first film. I got from the Library Theatre to the Egyptian with about 15 minutes to spare and was able to get a volunteer ticket, so that was a relief. I’ve been looking forward to Max Richter’s appearance at the festival for weeks now.

So, Max Richter. I discovered his work when I watched the HBO series The Leftovers a few years ago but he’s also done film score work for films like Arrival and Shutter Island. Natalie Johns’ film documents one of the public performances of his 8 hour long opus “Sleep,” which is performed only two or three times a year due to the incredible stress it places on the musicians, including Richter who plays piano. This particular performance was the first outdoor one, in Los Angeles’ Grand Park. Spanning the hours from midnight to 8am, the performance features cots for its audience to recline, sleep, cuddle, meditate, or whatever. The film speaks to a few of the audience members about their experience, and I think that was a great choice by the filmmaker. Richter’s music hits me very hard emotionally and it’s difficult to say why, but “Sleep” in particular means a lot to me. I’ve always had trouble sleeping, and therefore I’m sort of obsessed by the whole idea, and also by the weird state of mind between waking and sleeping. Music often helps me fall asleep and Richter’s piece was expressly designed for this, but it also evokes certain stories and dreams and I find all of it fascinating. The music itself is stunningly simple, kind of mournful but resigned. I’ve described it as not only good music to sleep to, but music that would make dying to it seem just fine. The film also does a great job of tracing Richter’s life, along with that of his creative and romantic partner Yulia Mahr. At the heart of the film is their own love story, which moved me very much. I’m very much looking forward to seeing this again and sharing it with others.

I met up with the other shorts volunteer Bryan afterwards (he’d also been in the screening) and we went back toward HQ. We were going to meet up with Terry and Drew for dinner at Anaya’s Market, but when we got there they were no longer serving food, so we went to Windy Ridge Cafe instead and used another of our “grub stubs” for a burger and fries. Terry and Drew didn’t end up joining us, but we were meeting Terry afterwards in the lineup at The Shop (near the Library) for the Max Richter performance. We were there very early and stood in line for over an hour just to make sure we could get in.

After having seen the documentary just a few hours earlier, I wasn’t sure I’d want to hear the music again, but I couldn’t pass up the chance to see the 90 minute version of “Sleep” performed live. And it was completely worthwhile. We all joked that we’d probably fall asleep and in fact many of us did, for a few seconds or minutes at least. But the music ends with what Richter calls a kind of “sunrise” and magically, I felt refreshed when it ended. Nevertheless, even at 10pm I wanted nothing more than to come home and get into bed, and so that’s what I did.