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Team Experience is looking back on past Sundance winners since we aren't attending this year. Here's Tim on an animated indie honored early on...
The Sundance Film Festival isn't necessarily what you think of as a hotbed of animation: even a simple animated feature takes a large budget and hundreds of hours to produce, and these are resources that indie movies are particularly noted for lacking. So when The Brave Little Toaster screened at Sundance in 1988, it was quite the aberration. Such an aberration, in fact, that it would be 13 years before another animated feature would show up at the festival. It was well-received, however: the film received a special citation from the jury at the festival's awards ceremony, and director Jerry Rees has maintained in later years that he was told that it was only a concern that awarding a cartoon would dilute the festival's prestige kept it from serious consideration for the grand prize.
The film is a curious beast in every way possible. The project was initiated by Walt Disney Feature Animation – future Pixar guru John Lasseter had it in mind as a project while he was with Disney – and much of its financing came from Disney's coffers, and its talent Disney's staff, which would seem to be enough to disqualify it from "independent" status. [more...]
Team Film Experience isn't at Sundance this year, so instead we're going back through the years to discover and revisit some Sundance classics. Here is Glenn with the 1986 winner of the Special Jury Prize, Donna Deitch's Desert Hearts.
It was a happy accident that on a whim I picked the 1985 drama Desert Hearts to write about today given we’re still very much wrapped up in the warm bosom of Carol. I had not seen Donna Deitch’s film before and had no idea prior to sitting down to watch it that it shared so much in common with Carol, 30 years its senior. I was aware of course that it was a lesbian romance, and I was also aware that the film is (famously) regarded as the first film to allow a lesbian romance to end without tragedy. Still, there were moments where beat-for-beat the films are almost identical. I would be interested to read the novels side by side and see if they’re as alike as their adaptations.
Adapted from Jane Rule’s novel Desert of the Heart, this Sundance Special Jury Prize winner is also set in the 1950s with two women (Helen Shaver and Independent Spirit Award nominee Patricia Charbonneau) of a significant age difference, the eldest of whom is currently in the process of a divorce, who come together much to the surprise of at least one of the pair – although this time it is the younger of the two who finds herself attempting to coax the older woman out from behind her guard. Most striking is how both end not just on similarly optimistic notes, but with almost identical build. Of course, Desert Hearts differs in the way its romance blossoms under the heat of a Reno sun, Shaver’s impractical clothing choices and sever hairstyle slowly becoming more free and loose as her worldview expands thanks to the frank openness of Charbonneau’s younger casino floor-girl a neat costume-oriented touch among the film's mise-en-scene.
Manuel here. Michelle Williams has been surprisingly absent from our screens since she played Glinda in Oz the Great and the Powerful (2013). Though if you were abroad you apparently got to see her alongside Kristin Scott-Thomas in something called Suite Française? (No, it never opened in the US). That looks to change this year. The actress has two projects that will be unveiled at Sundance next month.
First up we'll see her reunite with Wendy and Lucy director Kelly Reichardt in Certain Women. Adapted from Maile Meloy’s short stories, the film will make its debut at Sundance and follows three intersecting stories of women in Montana. It co-stars Laura Dern, Kristen Stewart, James Le Gros, Jared Harris, and Lily Gladstone.
She also has a role in Kenneth Lonergan's follow-up to Margaret, Manchester by the Sea. The fillm follows Lee (Casey Affleck) as he returns to his Boston suburb hometown after a family death, coming to terms again with his estranged wife (Williams). Kyle Chandler and Lucas Hedges also star.
It'll be a nice one-two punch of a return for the actress, especially coming from two such exciting writer/directors; Williams thrives in these low-key indie films so welcome her back with open arms. And, of course, if either of these films get her glowing reviews, might the actress be angling for Oscar nom #4?
Since Labor Day Weekend is historically a lame box office weekend, it affords us a fine opportunity to look back at the year thus far rather than wait for box office results. Especially in terms of films that aren't usually spoken of in terms of box office. So let's look at two sets of baker's dozens: 2015'S FOREIGN LANGUAGE and DOCUMENTARY HITS.
*second* biggest-hits in Foreign & Documentary: "Baahubali: The Beginning" and "Amy"
How many have you seen?
SUBTITLED FILMS Top Dozen of 2015 thus far 01 Bajrangi Bhaijaan (India) $8+ 02 Baahubali: The Beginning (India) $6+ 03A La Mala (Mexico)$3+ 04 Wild Tales (Argentina) $3+ Review 05 Dil Dhadakne Do (India) $3+ 06 Tanu Weds Manu Returns (India) $3+ 07 Clouds of Sils Maria* (France) $1+ Various Sils Maria Articles 08 Piku (India)$1+ 09 Assassination (South Korea) $1+ 10 Phoenix (Germany)$1+ Nina Hoss Interview 11 i (India)$1+ 12 Timbuktu (Mauritania) $1+ Review, César Winners 13 Gett: The Trial of Viviane Amsalem (Israel)$.9+ Review, Second Opinion
As we always see in the foreign charts in the past decade or so, Bollywood films continue to be solid imported hits without the benefit of any media attention whatsoever. That's what comes when you have distribution companies that cater to niche audiences and understand/market directly to them. This is surely what China Lion is attempting of late though they have yet to find as much regular support for Chinese language films. Aside from the Hindi language films, the top of the charts also painfully remind us that subtitled films have far teensier grosses even when they get breakout media attention than they once had. Wild Tales for example surely would have been at least a $13 million rather than a $3 million hit a decade ago. The chart also shows us that Oscar nominations help (see #4 and #12) but aren't necessary (see #10 and #13). 2015 hasn't yet had a breakout Oscar-headed hit like Ida from Poland last year (Phoenix was passed over for Oscar submission last year by Germany so it's been on its own without awards-buzz to find its audience. Happily, it's done just that). Sadly Sweden's sublime Oscar entry for this yearA Pigeon Sat on a Branch... earned only $200,000 at the US box office. Maybe Labyrinth of Lies, Germany's submission, which opens September 25th can fill that semi-annual slot of foreign hit that doesn't wait for its Oscar fate to make a stir.
* I'm fudging to include Clouds of Sils Maria I know. It's surely ineligible for France's Oscar submission as its more than 50% English. If you remove it from the list, the film that enters at the lowest rung is The 100 Year-Old Man Who Climbed Out the Window and Disappeared from Swedish director Felix Herngren. It earned nearly a million at the US box office but was a huge hit internationally with an additional $50 million!
DOCUMENTARY FEATURES Top Ten of 2015 Thus Far 01 Monkey Kingdom $16+ 02 Amy $8+ Review 03The Salt of the Earth$1+ Documentary Nominees Conversation 04 Iris $1+ 05 The Wolfpack$1+ Review 06 Dior & I $1+ 07 Meru $.8+ 08 Red Army$.6+ 09 Best of Enemies$.6+ Review 10 Cartel Land$.6+ 11 Seymour: An Introduction$.6+ Review 12 Deli Man$.5+ 13 The Hunting Ground$.4+
The list includes only one of last year's Oscar nominees The Salt of the Earth since most of them played in their correct calendar year. The big story beyond Disney's nature epic and the Amy Winehouse hit, is the success of Sundance Award Winners since The Wolfpack, Cartel Land and Meru were all hits in release. The late Albert Maysles (Grey Gardens) final full documentary feature Iris about eccentric fashion icon Iris Apfel was also well-received.
From this list we really expected Red Army to break out a little further as the Russian Olympic hockey documentary was quite entertaining and benefitted from a highly accessible international-interest storyline. If they hadn't waited for their Oscar nomination -- which they didn't get -- they might have fared better.
Here's a crazy colorful musical number from the year's #1 foreign language hit Bajrangi Bhaijaan starring Salman Khan called "Selfie Le Le Re"
When was the last time you saw a Bollywood film in theaters? Do you seek out the buzz titles from these categories?
It's time for another Q&A round. Ask some questions in the comments, get some answers. Maybe. I'll choose a handful or two to answer for Tuesday.
Meanwhile: Sundance Delayed Last night I took my two besties toTangerine and they both l-o-v-e-d it. We had such a good time (and I finally figured out what the title refers to though I'm not saying because it's such a good easter egg in the movie). Hopefully some of you have seen it by now. It was just as hot the second time, so funny, so lived-in, so authentically seedy LA, so high energy, so sneakily moving. We discussed it on the podcast last week in case you missed it.
Isn't it weird how randomly festival titles hit movie theaters? Several films from this year's Sundance have arrived or will arrive by the end of August (Me and Earl and the Dying Girl, Lila & Eve, Strangerland, Tangerine, Dope, Grandma) but we're still waiting on hard-to-get tickets from January's fest like The Witch (which A24 bought if I recall) and also had several titles from 2014's fest emerge with tiny or VOD releases in 2015. And if Xavier Dolan's Tom at the Farm arrives as currently scheduled in August, we'll even have a title from TIFF 2013. I wish distributors wouldn't be so weird and wishy washy about their pickups and release dates but what can you do?
Friday, January 22, 2016 at 8:00PM 
The Sundance Film Festival isn't necessarily what you think of as a hotbed of animation: even a simple animated feature takes a large budget and hundreds of hours to produce, and these are resources that indie movies are particularly noted for lacking. So when The Brave Little Toaster screened at Sundance in 1988, it was quite the aberration. Such an aberration, in fact, that it would be 13 years before another animated feature would show up at the festival. It was well-received, however: the film received a special citation from the jury at the festival's awards ceremony, and director Jerry Rees has maintained in later years that he was told that it was only a concern that awarding a cartoon would dilute the festival's prestige kept it from serious consideration for the grand prize.
