Yeah, it’s Tuesday. I lost a day to travel, as I returned to Los Angeles yesterday in a sold out flight filled with exhausted looking film fans and the occasional indie actor. Our scarves and new boots have seen winter, and we’re through with it.
On Sunday I took full advantage of the festival, attending three world premieres in three different places across Park City. Thankfully the relentless snow had stopped and the shuttle service was back on track, allowing me to actually make it to all these films.
I Think We’re Alone Now
, directed by Reed Morano, was first up for me. The post-apocalyptic story was just the kind of movie I really enjoy — which can make it hard to review objectively. But I ain’t never said this blog was objective, so screw it: I was into this film. It tells the story of a man left behind after some kind of apocalyptic event has killed everyone where they sat, stood, or drove. And this man is perfectly okay with that because he wasn’t a people person anyway. The best and richest parts of the film are in his routines and the textures they carry on screen. He’s perfectly content with his solitary life in upstate New York. Then one day, a woman shows up — and she doesn’t want to leave.
The cast and crew of I Think We're Alone Now
The conflict of companionship and loneliness that follows this is a really interesting look at how we all cope with ourselves and our needs. And I really loved that the story doesn’t bother to explore why the apocalypse happened or how to rebuild society. This character doesn’t care about that. For him, life goes on. Until it doesn’t.
Seeing Reed Morano’s name in the credits as both director and director of photography is also pretty great. Pretty dang great, yep.
Next up was Search
, whose editors I interviewed earlier this week. As I described previously, this is a screen movie that takes place on a computer. But not just one computer or screen — multiple screens. If you’ve seen screen movies before, you might have expectations. This isn’t like that. It’s got zooms, pans, edits, dissolves. It just happens that you’re looking at John Cho’s Mac’s desktop. Search
is the story of the disappearance of a man’s daughter and his mission to get her back. While that’s anything but a new story, the way this film unfolds makes it feel new.
The cast and crew of Search
I think it was really smart of the filmmakers (director Aneesh Chaganty and his co-writer Sev Ohanian) to use a story that has some basic building blocks an audience will recognize as a jumping off point for exploring it in an entirely different direction. There are stretches of the film where we’re watching Cho break into his daughter’s Gmail or go through her Facebook friends, and it’s surprisingly riveting. The twists and turns feel earned and realistic. It’s a lot of fun, and it uses some of the modern conventions of internet usage in new and interesting ways. I’m curious how people who don’t use the internet all that much will react to it, and how some of the sight gags involved might play upon a second viewing. The performances in the film are especially good — particularly John Cho, who had to act at a GoPro alone for a majority of the film.
And last for the day was Rupert Everett’s directorial debut The Happy Prince
which was — yeah I’m gonna say it — anything but happy. The film tells the story of the final years of Oscar Wilde’s life, picking up after he gets out of prison for homosexuality. Everett also wrote the film and stars as Wilde, and he really does disappear into the role (and into his fat suit) to explore a complicated and sad artist’s spiral into depression and many many bad choices. The other films I saw at Sundance felt like they were trying something new and using their indie status to be a little bit different. The Happy Prince
felt more like A Regular Movie you’d see nominated for Oscars and stuff.
But that doesn’t take away from how good I think it actually was. The cinematography and direction was fantastic, and the editing choices were great. From start to finish, it felt like the logical progression of a man’s fall from grace and into exile in France. Realistically it probably won’t stick with me, but I enjoyed having seen it. To punctuate my Sundance experience with an exploration of how we destroy great artists in their time and only choose to celebrate them properly when it’s far too late was an interesting choice — Wilde was pardoned in 2017.
This wasn't pleasant.
Also, I had to stand in the ticket overflow line for like a half hour in 13 degree weather to see it, so I’m glad it wasn’t terrible.
That was the end of my on-the-ground Sundance experience, and by the end I was nearly crawling to my airport terminal. Had I spent the entire week at the festival I wouldn’t be nearly spent because I would have paced myself a little bit more. Packing the full experience into 4 days required a little more of me. But let’s be real: I am aging rapidly and walking 5 miles a day in the snow is not something I am capable of sustaining.
Although I have departed Park City, my Sundance coverage continues this week with a few more interviews from your favorite below the line crew. Going and experiencing the festival first-hand was a really special experience. Sharing that with some old friends and new acquaintances was even more special. It’s been a long time since I stayed up until 3AM with friends talking about life and movies. I don’t share a breakfast table with like-minded people arguing about Avid very often. I never see three movies in a single day unless I’m laying on a couch in my pajamas. I’m thankful for the experience of Sundance and the people I met while I was there.
(I’m also thankful it’s 65 degrees in Los Angeles. But I am also under blankets.)