By Ray Pride Pride@moviecitynews.com

Sundance Announces New Frontier, Including Work By Jem Cohen, Travis Wilkerson, Terence Nance And Nonny de la Peña

Now in its second decade of breaking new ground at the forefront of art and technology, Sundance Institute has curated an in-depth vision of storytelling’s future for the 2017 edition of New Frontier at the Sundance Film Festival, January 19-29 in Park City. The full slate — including storyworlds in Augmented Reality headsets, projection-mapped acrobatics, a VR beauty salon producing neuroscience data via the internet of things and a host of socialized, interactive and immersively haptic VR story experiences — stands as a testament to New Frontier’s expertise in identifying, developing and amplifying the most relevant and high-impact modes of tech-enabled narrative.

Live performances, a feature film and augmented reality experiences will complement a total of 20 VR and Augmented Reality experiences and 11 installations, showcased between three venues in Park City. The historic Claim Jumper will host seven immersive installations focused on cross-disciplinary story construction and and two video works; the VR Palace will feature 15 VR experiences alongside additional installations, and the VR Bar will offer a lineup of mobile VR. Three projects are part of the Festival’s The New Climate program, which highlights the environment and climate change. More New Frontier projects will be announced in the coming weeks.

Robert Redford, President and Founder of Sundance Institute, said, “Every year, more artists are drawn to the vanguard of art and technology: independent, creative storytellers have more tools to break the mold than ever before. For the last decade-plus, New Frontier’s vision has evolved and grown with this expanding palette, to curate and showcase the most exciting new work made with the latest advances.”

Shari Frilot, Sundance Film Festival Senior Programmer and Chief Curator, New Frontier, said, “In an era that has recalibrated economies, redefined social realms and rewired the connection between the individual and the world, we must also reimagine what it is to be human. Through Virtual Reality, Augmented Reality and various crafted immersive experiences, New Frontier this year challenges the very nature of perception and what we consider to be ‘reality.’”

Through New Frontier’s history, Sundance Institute has been at the forefront of new media storytelling, recognized as a pioneer of story-based, tech-enabled experiences; New Frontier alumni include Doug Aitken, James Franco, Joseph Gordon-Levitt, Chris Milk, Nonny de la Peña, Pipilotti Rist and Jennifer Steinkamp. The Institute’s support extends well beyond its curated slate of Festival projects, and includes the annual New Frontier Story Lab, which offers mentorship and development opportunities for new media storytellers, New Frontier Day Labs in cities nationwide and the New Frontier Residency Program, which combines the might of partners such as MIT Media Lab’s Social Computing Group and Jaunt Studios to drive groundbreaking data-visualization and VR storytelling tools, training and resources to independent artists.

2016 marked New Frontier’s tenth Anniversary, with celebrations at MoMA in New York City, and the Walker Art Center in Minneapolis.

FILMS AND PERFORMANCE

18 Black Girls / Boys Ages 1-18 Who Have Arrived at the Singularity and Are Thus Spiritual Machines: $X in an Edition of $97 Quadrillion / U.S.A. (Director and writer: Terence Nance) — In this pair of performances, the artist Googles the phrase “one-year-old black boy” and “one-year-old black girl,” ascending in age to 18, allowing Google’s “popular searches” algorithm to populate what words will follow.

Did You Wonder Who Fired the Gun? / U.S.A. (Director: Travis Wilkerson) — This documentary murder mystery about the artist’s own family is a Southern Gothic torn apart and reassembled. Journeying straight into the black heart of a family and country, this multimedia performance explores a forgotten killing by the artist’s great-grandfather—a white Southern racist—of a black man in lower Alabama.

World Without End (No Reported Incidents) / U.S.A., United Kingdom (Director: Jem Cohen) — Close observations around Southend-on-Sea, a small English town along the Thames estuary, reveal not only everyday streets, everyday birds, unflagging tides, mud and sky, but also prize-winning Indian curries, an encyclopedic universe of hats and a nearly lost world of proto-punk music.

INSTALLATIONS

A selection of single-channel works by the collective A Normal Working Day / Switzerland — A Normal Working Day is an artist collective consisting of the installation artist Zimoun and the choreographers and dancers Delgado Fuchs (Marco Delgado, Nadine Fuchs). Formed from the bodies of the two performers, these splendidly hypnotic projections are visual rabbit holes that shimmer with a presence that is larger than the sum of their parts.

Full Turn / Switzerland (Artist: Benjamin Muzzin) — This installation explores the notion of the third dimension with the desire to get out of the usual frame of a flat screen. The rotation of two tablets creates a three-dimensional, animated sequence that can be seen at 360 degrees, unlike any other type of display.

Heartcorps: Riders of the Storyboard / U.S.A. (Artist: dandypunk, Key Collaborators: Darin Basile, Jo Cattell) — Follow the story of Particle, a two-dimensional light being, as you walk through the pages of a giant, immersive comic book. Hand-drawn illustrations come to life around you using projection-mapping technology, while high-level Cirque du Soleil performers interact with animated characters in this “digital light poem.” Cast: Ekenah Claudin, Elon Höglund, Youssef El Toufali, Jenni Gamas.

Heroes / U.S.A. (Artist: Melissa Painter, Key Collaborators: Tim Dillon, Thomas Wester, Jason Schugardt, Laura Gorenstein Miller) — The setting: An extravagant movie palace where silent films were shown. One dance—fiercely athletic and romantic—invites you inside. The story comes off the screen, putting you into your body and challenging you to move, navigate heroic shifts in perspective and scale and reach out to touch the experience. Cast: Helios Dance Theater, Stephanie Maxim, Chris Stanley, Melissa Sandvig.

Journey to the Center of the Natural Machine / U.S.A. (Artist: Daniella Segal) — From stone axe to super-computer, our brain’s evolution has been guided by our tools, evolving it into the most complicated object in the known universe. Explore a holographic brain with a friend on the Meta 2 Augmented Reality Headset, and rebuild your relationship to the Natural Machine.

NeuroSpeculative AfroFeminism / U.S.A. (Artists: Ashley Baccus-Clark, Carmen Aguilar y Wedge, Ece Tankal, Nitzan Bartov) — A three-part exploration of black women and the roles they play in technology, society and culture—including speculative products, immersive experiences and neurocognitive impact research. Using fashion, cosmetics and the economy of beauty as entry points, the project illuminates issues of privacy, transparency, identity and perception.

Pleasant Places / United Kingdom (Artist: Quayola) — A return to, and a modern elaboration upon, Vincent Van Gogh’s Provence landscapes, this series of digital paintings interrogates and reframes concepts of representation and perception through image manipulation and augmented reality. Using bucolic and contemplative images, juxtaposed with raw data visualization, this project suggests alternate modes of visual synthesis.

Synesthesia Suit: Rez Infinite and Crystal Vibes / Japan (Artists: Tetsuya Mizuguchi, Ayahiko Sato, Kouta Minamizawa) — Experience a multisensory climax with pounding beats and stringed instruments in acclaimed PlayStation 4/PS VR game Rez Infinite, or feel vibrations of candy-colored psychedelic sound rippling through the Crystal Vibes universe. Audiovisual and vibrotactile textures combine to push the frontiers of technology-mediated sensory experience.

VIRTUAL / AUGMENTED REALITY

ASTEROIDS! / U.S.A. (Artist: Eric Darnell) — From the director of Madagascarcomes Baobab’s VR animation. Journey the cosmos aboard the spaceship of Mac and Cheez, an alien duo so mission-focused they forget what’s important in life. It’s up to you to show them what really matters. Cast: Eric Darnell.

Chasing Coral: The VR Experience / U.S.A. (Artist: Jeff Orlowski) — Zackary Rago, a passionate scuba diver and researcher, documented the unprecedented 2016 coral bleaching event at Lizard Island on the Great Barrier Reef with this exclusive underwater VR experience. THE NEW CLIMATE

Chocolate / U.S.A. (Artist: Tyler Hurd)This VR music video experience for the song “Chocolate” by Giraffage sets you in a cat-centric world of sparkling, colorful chrome with a tribe of people doing a ritualistic dance just for you, their robot god, to provide them with their precious resource, cute lil’ chrome kitties.

Dear Angelica / U.S.A. (Artist: Saschka Unseld, Key Collaborators: Angela Petrella, Wesley Allsbrook, Maxwell Planck, Ryan Thomas) — This project is a journey through the magical and dreamlike ways we remember lost ones and, even though they are gone, what remains of the ones we loved. Cast: Geena Davis, Mae Whitman.

Hue / U.S.A. (Artist: Nicole McDonald, Key Collaborators: KC Austin)This is an immersive and visually driven interactive film about a man who has lost the ability to see color. Participants reawaken the protagonist’s sense of wonder and imagination through empathetic action as color and connection return to his world view. Cast: David Stratham, Benedikt Negro.

Life of Us / U.S.A. (Artists: Chris Milk, Aaron Koblin, Pharrell Williams, Key Collaborators: Megan Ellison, McKenzie Stubbert, Jona Dinges) — This shared VR journey tells the complete story of the evolution of life on Earth.

Melting Ice / U.S.A. (Artist: Danfung Dennis) — We take viewers on a transcendent exploration into the devastating consequences of climate change on Greenland’s ice sheet. Stand under collapsing glaciers, next to raging rivers of ice melt and witness rising sea levels—all visceral warnings of our planet’s future. THE NEW CLIMATE

Mindshow / U.S.A. (Artists: Gil Baron, Jonnie Ross, Adam Levin, Key Collaborators: Jonnie Ross, Gil Baron)Make VR cartoons with your body and voice. Teleport into different characters and act out all the parts. Create with your friends by passing scenes back and forth, then share your shows in VR and on social media. Cast: Dana Gould.

Miyubi / Canada (Artists: Félix Lajeunesse, Paul Raphaël, Key Collaborator: Owen Burke)Experience love and obsolescence as a Japanese toy robot, gifted to a child in the home of a fractured family in 1982 suburban America. Cast: Jeff Goldblum, P.J. Byrne, Emily Bergl, Owen Vaccaro, Richard Riehle, Ted Sutherland, Tatum Kensington Bailey.

Orbital Vanitas / Australia (Artist: Shaun Gladwell, Key Collaborator: BADFAITH) — This virtual reality experience presents a surreal sci-fi mystery and meditation on death. Initially placed in Earth’s orbit, participants soon notice an enigmatic form floating toward them. What takes place next makes perfect use of the VR format.

Out of Exile: Daniel’s Story / U.S.A. (Artist: Nonny de la Peña) — In August 2014, Daniel Ashley Pierce’s family verbally and physically accosted him before kicking him out of the house because they disapproved of his sexuality. Built directly around audio Daniel recorded from that encounter, this project includes thoughts of hope and triumph from Daniel and three other LGBTQ youth. Cast: Daniel Ashley Pierce, Kyle Wills, Julene Renee, Cyntia Domenzain, Angel VanStark, Phoebe VanCleefe.

The Sky is a Gap / U.S.A. (Artist: Rachel Rossin) — The viewer is allowed to precisely move time with space by the use of a positionally tracked headset. Existing in the physical and virtual realms, the installation depicts a pyroclastic explosion inspired by Zabriskie Point, where the scene’s progress is physically mapped to the participant’s forward and backward movement.

Through You / U.S.A. (Artists: Saschka Unseld, Lily Baldwin) — Dance is used to inhabit a common mortal story of love born, lived, lost, burned and seemingly gone forever—only to be found again. Cast: Joanna Kotze, Amari Cheatom, Marni Thomas Wood.

Tree / U.S.A. (Artists: Milica Zec, Winslow Porter, Key Collaborators: Aleksandar Protic, Jacob Kudsk Steensen) — This virtual experience transforms you into a rainforest tree. With your arms as the branches and body as the trunk, you experience the tree’s growth from a seedling to its fullest form and witness its fate firsthand. THE NEW CLIMATE

What If / U.S.A. (Artist: Rosemarie Troche, Key Collaborator: Bruce Allan) — A conflicted Christian man carries out a mass shooting. In his past: a same-sex hookup and self-loathing. What if events had unfolded differently? What if his partner had convinced him to face himself? Could that simple act change the course of history? Cast: Zachary Booth, Mitchell Winter.

Zero Days VR / U.S.A. (Artists: Scatter, Yasmin Elayat, Elie Zananiri, Key Collaborators: Mei-Ling Wong, Alexander Porter, James George) — The story of a clandestine mission hatched by the U.S. and Israel to sabotage an underground Iranian nuclear facility told from the perspective of Stuxnet, a sophisticated cyber weapon, and a key NSA informant. Audiences experience the high stakes of cyber warfare placed inside the invisible world of computer viruses. Cast: Joanne Tucker, Eric Chien, Liam O’Murchu, Ralph Langner, Olli Heinonen, David Sanger.

The Sundance Institute New Frontier program is supported by Cindy Harrell Horn and Alan Horn, Lyn and Norman Lear, the John D. and Catherine T. MacArthur Foundation, the Doris Duke Foundation for Islamic Art, Time Warner Foundation, the John S. and James L. Knight Foundation, Oculus Story Studio, Nokia OZO, Comcast Ventures, The Fledgling Fund, and David E. Quinney III.

The Sundance Film Festival®
The Sundance Film Festival has introduced global audiences to some of the most groundbreaking films of the past three decades, including Boyhood, Beasts of the Southern WildFruitvale Station, Whiplash, Brooklyn, Twenty Feet from Stardom, Life Itself, The Cove, The End of the Tour, Blackfish, Me and Earl and the Dying Girl, Super Size Me, Dope, Little Miss Sunshinesex, lies, and videotapeReservoir Dogs, Hedwig and the Angry InchAn Inconvenient TruthPrecious and Napoleon Dynamite. The Festival is a program of the non-profit Sundance Institute®. 2017 Festival sponsors to date include: Presenting Sponsors – Acura, SundanceTV, Chase Sapphire®, and Canada Goose; Leadership Sponsors – Adobe, AT&T, DIRECTV, and YouTube; Sustaining Sponsors – American Airlines, Canon U.S.A., Inc., Francis Ford Coppola Winery, GEICO, Google VR, The Hollywood Reporter, IMDb, Jaunt, Kickstarter, Omnicom, Stella Artois® and the University of Utah Health. 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 helps offset the Festival’s costs and sustain the Institute’s year-round programs for independent artists. Look for the Official Sponsor seal at their venues at the Festival. sundance.org/festival

Sundance Institute
Founded in 1981 by Robert Redford, Sundance Institute is a nonprofit organization that provides and preserves the space for artists in film, theatre, and new media to create and thrive. The Institute’s signature Labs, granting, and mentorship programs, dedicated to developing new work, take place throughout the year in the U.S. and internationally. The Sundance Film Festival and other public programs connect audiences to artists in igniting new ideas, discovering original voices, and building a community dedicated to independent storytelling. Sundance Institute has supported such projects as Beasts of the Southern Wild, Fruitvale Station, Sin Nombre, The Invisible War, The Square, Dirty Wars, Spring Awakening, A Gentleman’s Guide to Love and Murder and Fun Home. Join Sundance Institute on Facebook, Instagram, Twitter and YouTube.

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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