The buzz at this year’s Sundance Film Festival echoed with whispers of a potential relocation to Cincinnati, a prospect met with much consternation. Cincinnati tagged along as one of the three frontrunners in the festival’s ongoing search for a novel venue. Observers, however, were questioning, with evident disdain, the mere idea of the festival migrating to the Ohioan metropolis.
This year’s Sundance had an understated aura about it, with a striking number of first-time filmmakers entering the fray. This novel dynamic ushered in a modest decline in celebrity presence on Main Street, that is, until Jennifer Lopez made her unexpected appearance for the premiere of Kiss of the Spider Woman.
Kicking off the event, director Bill Condon delved into political commentary, alluding to recent proclamations by Donald Trump restricting gender recognition to the traditional male and female constructs. Condon, however, proposed that the film offers an alternative perspective, a counter-claim which was met with an uproar of audience applause.
Adding to the discourse in the post-screening Q&A, Jennifer Lopez stressed on the unifying power of love, capable of bridging any form of human divide. Robust support was evident not only in the forums but also on the grand stage. Actor Dylan O’Brien was not shy about expressing his affection for his film, Twinless.
The festival commenced with Twinless, which was both a crowd and critic favorite, sparking animated conversations across festival venues. It still holds the title of one of the festival’s most discussed features. Another film that garnered considerable attention was All That’s Left of You, focusing on the narrative of a Palestinian family compelled to leave their home and generationally displaced.
All That’s Left of You was met with repeated standing ovations during its premiere, underscoring the profound resonance the story held for its audience. Incidentally, the filming had to be relocated to Jordan due to unforeseen circumstances that arose just prior to the scheduled shoot.
For the filmmaker, this story held deep personal significance, drawing from her childhood experiences of traveling between Jordan and the West Bank. In a heartfelt account to her audience, she recounted the ordeal of being detained at the border and having her luggage thoroughly searched.
The festival was not devoid of comedic features. Oh, Hi!, a film starring Molly Gordon, who also contributed as a co-writer, evoked considerable laughter from the audience, proving the success of the comedy genre. The body-horror film Together premiered on Sunday night amidst an audience reaction mix of screams and laughs, as it depicted the literal merging of its characters.
At the charming premiere of The Wedding Banquet, actress Joan Chen took the opportunity to celebrate the exceptional team spirit residing within the cast. Playing out in a similar vein, Opus was among the eagerly awaited films at the festival, pulling in a full house for its Monday night premiere.
Opus joins the growing collection of A24’s ‘new horror’ genre, an evolving and increasingly popular film category. Amidst the fray of premieres and screenings, the festival also hosted its annual fundraising event in support of the Sundance Institute on Friday night, commemorating various individuals for their contributions.
In a privileged discussion held on Monday, a prized director proposed an intriguing idea for the festival’s potential new location. According to him, the key characteristics for a festival locale should include a calm, lesser-known town with at least a couple of decent hotels, numerous local businesses to support the inflow of crowds, and an independent music outlet that would bolster local economy and culture.
As for the festivities themselves, the energy levels seemed to be well up to par. However, compared to previous years, there were fewer high profile studio events. A number of organizations came in support, conducting post-premiere celebrations that undoubtedly warmed the spirits of attendees despite the frosty weather.
Navigating the challenges of the Sundance festival, from maintaining momentum amidst the snowy conditions to the treks from Main Street to the Eccles, is no easy task. Yet, it endures as the crowning jewel of American independent cinema, attracting scores of aspiring filmmakers each year.
Year after year, the festival witnesses a fresh influx of ambitious directors and writers, eager to follow the examples set by precursors whose work ignited aggressive bidding wars. Sundance is seen as a launchpad, a venue where filmmakers can introduce their unique stories and possibly attract the attention of influential admirers.
As the festival wrapped up, attendees could heave a collective sigh of relief, content that they could look forward to yet another year of exhilarating cinema experiences. More importantly, they were relieved knowing that regardless of where the festival relocates in the future, it would not be Cincinnati.
Preserving the legacy of Sundance and upholding its reputation as an international cinematic platform remains of paramount importance. No matter where the roads leads, the festival will continue to celebrate diversity of thought and vision, and embody the spirit of independent cinema.