By MCN Editor editor@moviecitynews.com

Four Additional Films Selected for the Sundance Film Festival

Posted Monday, December 19th, 2011 - Comments Off on Four Additional Films Selected for the Sundance Film Festival
Be Sociable, Share!

For Immediate Release

December 19, 2011Park City, UT — Sundance Institute announced today the selection of four additional films for the 2012 Sundance Film Festival. The Festival will be January 19 through 29 in Park City, Salt Lake City, Ogden and Sundance, Utah. The complete list of films is available at www.sundance.org/festival.

John Cooper, Director of the Sundance Film Festival, said, “Each of these four films is an accomplishment in its own right, and collectively, their addition to our program allows us to present a broader look at independent filmmaking. With these four films, we will present a total of 117 feature-length films at the 2012 Sundance Film Festival – a strong indication of the vitality of the independent film community.”

Late additions to the Festival in recent years have included Miranda July’s The Future and Lisa Cholodenko’s The Kids Are All Right.

The 117 feature-length films that will be presented at the Festival represent 30 countries by 45 first-time filmmakers, including 24 in competition. These films were selected from 4,042 feature-length film submissions composed of 2,059 U.S. and 1,983 international feature-length films. 91 films at the Festival will be world premieres.

PREMIERES

Predisposed / U.S.A. (Directors & Screenwriters: Philip Dorling, Ron Nyswaner) — Eli Smith, a piano prodigy, is dealing with his troubled mother and enlisting help from a hapless drug dealer on the day he has an audition for a prestigious music program. Events spiral comically out of control as this gang of misfits faces the mistakes of the past, the challenges of the future, and the possibilities of love. Cast: Jesse Eisenberg, Melissa Leo, Tracy Morgan, Sarah Ramos, Isiah Whitlock Jr. World Premiere.

SPOTLIGHT

Oslo, August 31st / Norway (Director: Joachim Trier, Screenwriters: Eskil Vogt & Joachim Trier based on a novel by Pierre Drieu La Rochelle) — One man, one city, 24 hours. Oslo, August 31st is a portrait of contemporary Oslo. A visually striking and quietly shattering drama about a man in deep existential crisis. Cast: Anders Danielsen Lie, Hans Olav Brenner, Ingrid Olava, Tone B. Mostraum.

This Must Be The Place / Italy, France, Ireland (Director: Paolo Sorrentino, Screenwriter: Umberto Contarello, Paolo Sorrentino) — A bored, retired rock star sets out to find his father’s executioner, an ex-Nazi war criminal who is a refugee in the U.S. Cast: Sean Penn, Frances McDormand, Judd Hirsch. North American Premiere.

PARK CITY AT MIDNIGHT

JOHN DIES AT THE END / U.S.A. (Director: Don Coscarelli, Screenwriter: Don Coscarelli, based on a novel by David Wong) — On the street they call it Soy Sauce – a drug that allows users to drift across time and dimensions. But some who come back are no longer human. Can John and David stop the oncoming horror? No. They can’t. Cast: Chase Williamson, Rob Mayes, Paul Giamatti, Clancy Brown, Glynn Turman. World Premiere.

The Sundance Film Festival

A program of the non-profit Sundance Institute, the Festival has introduced global audiences to some of the most ground-breaking films of the past two decades, including sex, lies, and videotape, Maria Full of Grace, The Cove, Hedwig and the Angry Inch, An Inconvenient Truth, Precious, Trouble the Water, and Napoleon Dynamite, and through its New Frontier initiative, has showcased the cinematic works of media artists including Isaac Julien, Doug Aitken, Pierre Huyghe, Jennifer Steinkamp, and Matthew Barney. The 2012 Sundance Film Festival sponsors include: Presenting Sponsors — Entertainment Weekly, HP, Acura, Sundance Channel and Chase SapphireSM; Leadership Sponsors — Adobe Systems Incorporated, Bing™, Canon, DIRECTV, Focus Forward, a partnership between GE and CINELAN, Southwest Airlines, Sprint and Yahoo!; Sustaining Sponsors — Bertolli® Frozen Meal Soups, FilterForGood®, a partnership between Brita® and Nalgene®, Grey Goose® Vodka, Hilton HHonors and Waldorf Astoria Hotels & Resorts, L’Oréal Paris, Stella Artois®, Timberland, Time Warner Inc. and YouTubeTM. Sundance Institute recognizes critical support from the Utah Governor’s Office of Economic Development, and the State of Utah as Festival Host State. The support of these organizations will defray costs associated with the 10-day Festival and the nonprofit Sundance Institute’s year-round programs for independent film and theatre artists. www.sundance.org/festival


Sundance Institute

Sundance Institute is a global nonprofit organization founded by Robert Redford in 1981. Through its artistic development programs for directors, screenwriters, producers, composers and playwrights, the Institute seeks to discover and support independent film and theatre artists from the United States and around the world, and to introduce audiences to their new work. The Institute promotes independent storytelling to inform, inspire, and unite diverse populations around the globe. Internationally recognized for its annual Sundance Film Festival, Sundance Institute has nurtured such projects as Born into Brothels, Trouble the Water, Son of Babylon, Amreeka, An Inconvenient Truth, Spring Awakening, I Am My Own Wife, Light in the Piazza and Angels in America. Join Sundance Institute on Facebook, Twitter and YouTube.
# # #

Be Sociable, Share!

Posted in Movie City News, Press Releases | Comments Off on Four Additional Films Selected for the Sundance Film Festival

Comments are closed.

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon