Sundance

This year’s Sundance felt marked by great uncertainty. Personally, I was never quite sure how to feel, as the many unknowns of next year’s move to Boulder meant that it was unclear how much this year was supposed to feel like the end of something or the start of a new beginning. I didn’t know just how mournful to be, though, as the festival marched along, it became clear there was a space for nostalgic reflections.

The first movie I ever saw at Sundance was Andrew Fleming’s comedy “Hamlet 2” in the Library Center Theatre. Which means it was 2008 and I was then an intrepid freelancer who talked my way into sleeping on a recliner at a condo rented by The Times until staffers trickled out and I eventually had the place to myself because of the vagaries of an extended rental agreement. Which is how I found myself, entirely unexpectedly, in a room interviewing all of Crosby, Stills, Nash and Young, who were in town for their tour documentary “CSNY/Déjà Vu.”

That sense of surprise and discovery — and in-person interactions that likely wouldn’t happen anywhere else — are what have brought me back to the festival every year I could manage since. It’s exactly why I have been a huge fan of the festival’s NEXT section, made up of films that don’t quite fit elsewhere in the program. A standout this year was Georgia Bernstein’s debut feature, “Night Nurse,” a film of assured poise about a young woman (a compelling Cemre Paskoy) who takes a job at a retirement home only to find herself drawn into a series of phone scams, erotic role play and psychosexual transference with one the clients. Recommending the film to colleagues feels a little like an HR violation, but the kinky undercurrents and unsettling emotions are worth it.

Cemre Paksoy and Bruce McKenzie in the movie “Night Nurse.”

(Lidia Nikonova / Sundance Institute)

Many conversations around the festival seemed to firmly center on “The Invite” and “Josephine,” but another film people consistently brought up was “Wicker.” Written and directed by Eleanor Wilson and Alex Huston Fischer, adapting a short story by Ursula Wills-Jones, the film takes place in an unspecified time and place: a sort of medieval-ish middle European village of the mind, in which an unmarried woman (Olivia Colman) asks a local basket weaver (Peter Dinklage) to make her a husband. That he comes out looking like Alexander Skarsgård sets the whole town into a tizzy. Nimble and inventive, with convincing special effects work, the film is a charming parable that continually finds ways to reset itself.

It is unclear just how planned it was, but there could have been no better film than “The Only Living Pickpocket in New York” to be the final fiction feature to debut in the Eccles Theatre, one of the festival’s most storied venues. Character actor Noah Segan’s directorial debut, the movie is a warmly elegiac portrait of the city and the pain of recognizing when your time has passed. Led by a quietly commanding lead performance by John Turturro, the film also features Steve Buscemi and Giancarlo Esposito in supporting roles.

As the trio took the stage with Segan and other cast members after the film, it quickly became apparent how special it was to have those three actors there in that moment. Buscemi rattled off a quietly astounding number of films he has appeared in with “New York” in the title — “New York Stories,” “Slaves of New York,” “King of New York” — while Turturro spoke movingly about his relationship with Robert Redford, whose absence hung heavy over the entire festival.

John Turturro in the move “The Only Living Pickpocket in New York.”

(MRC II Distribution Co. L.P. / Sundance Institute)

As Esposito began talking about what Sundance has meant to him over the years, his words took on a fierce momentum. He recalled when he first came to the festival in the ’90s, he was “ecstatic because it gave a voice to those who didn’t have a voice. … We didn’t come to sell a film to a big studio. We came to share our small movie with human beings that could really see themselves in a mirror on the screen.”

Of Redford, he added, “His vision is priceless. It’s the gem that we all hope for. It’s the juice of why we live. It’s the connection of why this movie works. It’s the love of what we do. This, to me, will stick with me for the rest of my life. My interactions with this man who started this festival will always be a beacon of light in my creative process.”

It was a beautiful and inspiring way to leave that theater for the last time and, in turn, leave Park City behind for a future that, while full of unknowns, will for now also hold the promise of new discoveries to come.

Before starting a cosmopolitan life as an artist in Mexico City, queer filmmaker Efraín Mojica came of age between Riverside and the rural town of Penjamillo, Michoacán: home to an annual jaripeo, or a Mexican rodeo competition that takes place every Christmas.

Every year, cowboys convene to test-drive their masculinity, namely by swigging handles of tequila and precariously mounting the backs of bucking bulls. These heroic shows of manhood long fascinated Mojica, who frequented jaripeos with family — and quietly forged a community with other locals who diverged from Mexican gender norms.

That community would become the cast of “Jaripeo,” the debut documentary feature film by Mojica and co-director Rebecca Zweig, which premiered at this year’s Sundance Film Festival in Park City, Utah. Shot in the style of cinéma vérité, Mojica appears as both a narrator and protagonist. Zweig, who first encountered Mojica in Seattle’s punk scene, follows them behind the lens as they interview members of the LGBTQ community in and around Penjamillo.

“[Mojica] invited me to Michoacán in 2018 to spend Christmas with their family,” Zweig tells The Times, the day after the film’s Jan. 25 premiere. “As soon as I was at the rodeo with them, I became obsessed with the performance of masculinity.”

“[Zweig] was like, ‘How do you feel about making a documentary [about] the rodeos?’” Mojica tells The Times. “I said, ‘Yeah, but it’s got to be gay.’”

Produced by Sarah Strunin, the documentary begins with a pastoral scene from Mojica’s pickup truck as they overlook the grasslands of Michoacán. Pink party lights and techno music are woven into scenes of bandas and revelers in tejana hats, who kick up dust as they dance inside the rodeo ring. The crew flashes strobe lights in the cornfields, lighting up the figures of sexy cowboys sifting through the crops to find one another — drawing parallels to queer nightlife in the cities.

“On New Year’s there’s a rodeo in Acuitzeramo, with like 10,000 people and big speakers with heavy bass,” said Mojica. “What’s the big difference between a city rave and a rancho jaripeo, you know? They’re doing the exact same thing.”

“I wanted to blur all the lines and make these abstract sequences,” says Zweig. “And I thought, how much is that gonna be allowed in a formal [film] institution? I want to shout out public media, [because] when we got the Open Call Fund from ITVS, they took a chance on us as first-time filmmakers. [Marlon Riggs’ documentary] ‘Tongues Untied’ was also funded by ITVS — the legacy of queer cinema and documentaries in the U.S. has been supported by public media.”

“We have to deal with these issues in our towns, and [people] are still not open to receiving that kind of help,” says Noé Margarito Zaragoza, center, who stars in the new film “Jaripeo.”

(Cat Cardenas / De Los)

Each interview adds more color and dimension to Mojica’s memories of the village they left long ago, no longer suspended in the past. Mojica visits Arturo Calderón, a local rodeo clown known as “La Pirinola,” who performs in drag; Calderón lets the camera roll as he paints his eyelids electric blue.

They later stop by the local church and the disco with Joseph Cerda Bañales, a bearded makeup artist who brandishes long stiletto nails to the rodeos. Despite efforts from the festival organizers, and even a letter from Sen. John Curtis (R-Utah), Cerda was unfortunately not granted entry into the U.S. for the Sundance premiere.

“Joseph is the mayor of his town,” says Mojica. “He’s the president of the church. He runs the folkloric ballet. He does everything. It’s not that there’s no more traditional culture… People just want to keep the community together. [It means] holding a bunch of truths [and] contradictions at the same time.”

Mojica even shares flirtatious moments onscreen while interviewing Noé Margarito Zaragoza, a dashing and stoic ranchero who lives discreetly as a gay man.

“It’s exciting, but at the same time I’m a little nervous,” says Margarito of coming out in the film. “Part of my family doesn’t know what’s going on with my life, so I don’t know how they’re going to take it. But my main family members — my siblings, my dad — well, they feel content and happy [for me], so I’m going forward and giving it my all.”

“We never talked about my queer identity,” says Mojica of their own family, some of whom flew in for the premiere of “Jaripeo” at the Yarrow Theatre in Park City. Mojica planned a belated coming out talk at dinner the night before; the discussion never happened.

“I choked up,” says Mojica. “I thought, ‘OK, I’m just going to give them a little heads up of what the film’s actually about.’ But I could not vocalize a single word. My eyes started tearing up. So I was like, ‘See you tomorrow!’”

It was after the screening, during an open Q&A, when Mojica’s mother quelled the artist’s fears in one fell swoop.

“What was the reception from your family after seeing the film?” an audience member asked Mojica in Spanish — unaware that their family had just watched it for the first time with everyone else in the theater.

To that, Mrs. Mojica Rubio rose from her seat and introduced herself “as a very proud mamá” who loves her child “unconditionally.”

After a beat, she exclaimed: “It’s the 21st century!”

Mrs. Mojica Rubio’s show of support was promptly met with resounding cheers from the audience. “My mom also approached [Margarito] and said, ‘I’m going to give you a mother’s hug, because you deserve it,’” says Mojica, who appears misty-eyed as they recount the scene.

In a time of increasing hostility against LGBTQ people and immigrants in the United States, to behold the strength of a mother’s love — and the solidarity across communities — affirms the purpose of such a film, with a power that transcends states, governments and institutions.

“People in different countries [have] this antiquated idea that Mexico is this little ranchita that’s hateful, that they’re gonna beat you if you’re queer. But we really care for each other,” Mojica says.

“We have to deal with these issues in our towns, and [people] are still not open to receiving that kind of help,” added Margarito. “So let’s hope [the movie is] a success.”

After Paul Dano came under unexpected fire from filmmaker Quentin Tarantino in December, the “There Will Be Blood” star received support from fellow artists including Daniel Day-Lewis and Ben Stiller. A month after the drama, he is now returning the love.

Dano finally publicly addressed Tarantino’s controversial comments at the Sundance Film Festival during a 20th anniversary screening of “Little Miss Sunshine.” Speaking to Variety, he said the groundswell of support “was really nice.”

Tarantino appeared on Bret Easton Ellis’ podcast in December to rank his top 10 films of the century. The “Django Unchained” and “Pulp Fiction” filmmaker placed Paul Thomas Anderson’s oil drama “There Will Be Blood” at No. 5 on his list, and said specifically Dano — not his performance — was the “big, giant flaw” in the Oscar-winning film. “There Will Be Blood” stars Dano as fiery preacher Eli Sunday and Day-Lewis as oil tycoon Daniel Plainview.

When the movie was released in 2007, former Times film critic Kenneth Turan praised Dano as “smoothly effective” and gifted. Clearly, Tarantino thought otherwise.

“He is weak sauce, man. He’s a weak sister,” Tarantino said, adding that he thought “Elvis” star Austin Butler (who was a teenager launching his career on Disney Channel and Nickelodeon when the movie came out) would have been a better actor for the part. “He’s just such a weak, weak, uninteresting guy,” he said.

Tarantino added: “You put [Day-Lewis] with the the weakest f— actor in SAG?”

A handful of Dano’s collaborators immediately defended him. “Escape at Dannemora” executive producer Stiller praised him as “brilliant” and Reese Witherspoon called her “Inherent Vice” co-star an “incredibly gifted, versatile actor” and a gentleman. Matt Reeves, Josh Gad, Alec Baldwin and Simu Liu also voiced their support for Dano, whose credits include Steven Speilberg’s Oscar-nominated “The Fabelmans,” Bong Joon Ho‘s “Okja” and Oscar-winning director duo Daniels’ (Daniel Kwan and Daniel Scheinert) “Swiss Army Man.”

“I was also incredibly grateful that the world spoke up for me so I didn’t have to,” Dano said at the Sundance screening.

Before Dano responded, though, Toni Collette (who played his mom in “Little Miss Sunshine”) chimed in, dismissing “that guy” Tarantino and speculating that “he must’ve been high.”

“It was just confusing. Who does that?,” she said, according to Variety. “Little Miss Sunshine” directors Jonathan Dayton and Valerie Faris also criticized Tarantino and praised their star.

During his podcast appearance in December, Tarantino also slammed Owen Wilson and scream king Matthew Lillard. In an interview with Entertainment Weekly published Wednesday, Lillard brushed off the shade and recalled the ensuing social media praise for his talents. “It was like living through your own wake,” Lillard told EW.

“All those R.I.P. emails or tweets and Instagram posts and TikToks, all of the things we see after somebody passes are so sweet,” he added. “And the reality is I just got to live through all of it firsthand — alive and kicking! I can’t imagine a more lovely reaction to what happened.”

As the Sundance Film Festival winds down its final edition in Park City, Utah, this week, ahead of its move to Boulder, Colo., next year, its sway over the nonfiction field at the Oscars remains as steady as ever. All five current Academy Award nominees for documentary feature premiered at last year’s festival, with Sundance films winning the category six times over the last decade.

“Sundance has been a kick-starter for my entire career,” says Ryan White, director of “Come See Me in the Good Light,” his fourth film to premiere at the festival. The intimate portrait of Colorado poet laureate Andrea Gibson, who faces a terminal diagnosis with a spirit of resilience, needed the boost. “The lead words are poetry and cancer, and it’s a character-driven film about a non-binary person,” White says. “It wasn’t the easiest film to get off the ground.” A similar challenge could apply to other nominees, including “Mr. Nobody vs. Putin” and “Cutting Through Rocks,” which focus on everyday individuals taking on oppressive systems in Russia and Iran, respectively. “There are the types of films that can get lost because they’re not about a celebrity, and they don’t have these marquee descriptors. Sundance does such an amazing job of discovering these diamonds.”

Andrea Gibson, left, and Megan Falley in “Come See Me in the Good Light.”

The exposure at the start of the film festival season “gives you that one-year runway that allows you to play festivals all year long,” says White, who was back at Sundance to celebrate the end of an era. He also knows the pain of not making the cut. “My first two films didn’t get into Sundance, and then my third one did. I’m always telling young filmmakers to use the Sundance rejection as fuel.”

A festival berth was strong motivation for “Mr. Nobody” filmmaker David Borenstein, who collaborated with his subject, a schoolteacher near the Ural Mountains named Pavel (“Pasha”) Talankin, as he quietly documented Russian propaganda efforts to rally his young students around the war in Ukraine. “That was the goal the entire time making this film,” says the director, an American based in Copenhagen. “I never thought once about anything after Sundance.” When the Danish Film Institute submitted his film as the country’s entry for the international feature Oscar, he had a new goal. “We were the last to start campaigning because we didn’t have a streamer behind us.”

Borenstein interrupted a family vacation in the Dominican Republic to return to Sundance for meetings and figure out next steps. “Forget winning or losing,” he says. “You have six weeks where you have a voice, where Pasha has a voice. How do you use it?” Talankin, who fled his home — first for Turkey, then the Czech Republic — is, for the moment, no longer “Mr. Nobody,” but as Borenstein notes, “He sacrificed his whole life to do this.”

Iranian American filmmakers Mohammadreza Eyni and Sara Khaki were well into the eight-year production of “Cutting Through Rocks” when they became recipients of a 2020 Sundance Documentary Fund grant. “The timing was perfect and we really, really, really needed that support,” says Khaki, joining Eyni on a video conversation from Park City, where their film won the Grand Jury Prize in the world cinema category last year. “Sundance is something beyond only the festival for us,” Eyni says. “It’s more about persistence as a filmmaker and the cinematic approach to the stories and sense of community.”

“Cutting Through Rocks” follows Sara Shahverdi, the first woman elected to the council of her northwestern Iranian village, as she challenges the practice of child marriage and other patriarchal norms and empowers young women by showing them how to ride motorbikes, as she does herself. The message of resistance feels relevant worldwide, but most urgently in Iran, where estimates of deaths during recent protests top 30,000 people. “We want small stories and anecdotes to remind us that we can bring change,” Eyni says, “even when it’s tough, even when it seems impossible.” Although the film is the first documentary from Iran to be nominated for an Oscar, the news has been hard to share there because of the government’s weeks-long internet blackout.

“We are experiencing a lot of complex emotions,” Eyni says.

Sara Shahverdi, the subject of Oscar-nominated documentary feature “Cutting Through Rocks.”

(Gandom Films)

Sundance thrives on exactly those kinds of feelings. The dramatic premiere of “Come See Me in the Good Light” was, for its filmmaker, “The best night of my entire career.” What began as a film about the end of Gibson’s life quickly became a story about the joy of a life well-lived, experienced alongside the charismatic subject’s wife, poet Megan Falley. When White broke the news about the film’s acceptance, “Andrea was so emotional saying, ‘You’re telling me if I survive for six more weeks, I might see this movie?’” he recalls. And they did.

“I think people fell in love with Andrea during the course of that film, but they probably assumed that Andrea had passed away, and they were about to see a card at the end of the film,” White continues. Then Gibson walked up. “It was like a rock star rising from the ashes. You could literally feel the theater vibrating.”

After a competitive bidding process, indie studio A24 has acquired the U.S. rights to Olivia Wilde’s comedy “The Invite” in a major deal out of the Sundance Film Festival.

The film, which stars Wilde, Seth Rogen, Penélope Cruz and Edward Norton, was purchased for around $10 million, according to a person familiar with the deal who requested anonymity due to the sensitive matter. One factor for Wilde was a preference for a traditional theatrical release.

“The Invite” focuses on a dinner party among neighbors and was billed as a must-see after it premiered over the weekend at Sundance. So far, the film has notched a 91% rating on aggregator Rotten Tomatoes.

The market at Sundance has traditionally been viewed as a bellwether for the indie film business. In the last few years, deals have been slower to emerge from the festival, particularly as streamers stopped offering massive sums for films to stock their platforms and as studios cut back on spending.

The deal for “The Invite” is one of a handful that have already been announced. On Tuesday, Neon said it acquired the worldwide rights to horror film “Leviticus,” which premiered at Sundance. Neon also bought the worldwide rights over the weekend for another horror flick, “4 X 4: The Event” from filmmaker Alex Ullom. That deal was the first to be made in Park City, though the film was not shown at Sundance and will begin production later this year. The value for both of Neon’s deals was not disclosed.

PARK CITY, Utah — Welcome to a special Sundance Daily edition of the Wide Shot, a newsletter about the business of entertainment. Sign up here to get it in your inbox.

Good evening — it’s Monday, Jan. 26, and you’re reading the last of our Sundance dispatches. Today we’ve seen a high of 36 degrees on a notably sunny day. We waited and waited for deal news, but it hasn’t quite arrived yet.

We’re hearing about distributors circling both Olivia Wilde’s “The Invite” and the provocative “Josephine,” the latter of which is coalescing into a critical favorite at the fest.

We’ve been speaking the last few days with a parade of fascinating stars and directors: Ethan Hawke, Salman Rushdie, the legendary Billie Jean King, Brittney Griner, many more. Check out our videos right here as we make them live.

Mark Olsen spoke with director NB Mager about her debut feature “Run Amok,” which premiered at the festival today. Here are some recommendations for you.

What we’re watching today

“Gail Daughtry and the Celebrity Sex Pass”

Miles Gutierrez-Riley, John Slattery, Ken Marino, Zoey Deutch and Ben Wang in the movie “Gail Daughtry and the Celebrity Sex Pass.”

(Sundance Institute)

Twenty-five years ago, the Sundance premiere of David Wain’s “Wet Hot American Summer” reignited the ’80s-style sex romp. Now he’s returned to Park City to see if he can rescue the comedy again.

“Gail Daughtry and the Celebrity Sex Pass” stars Zoey Deutch as a Kansas hairdresser whose fiancé cheats on her with his “hall pass”: a get-out-of-the-doghouse-free exemption for canoodling with his movie-star crush. (I’ll let you discover that cameo yourself.)

To even the score, Gail travels to Los Angeles to sleep with her own idol, Jon Hamm, and is soon skipping down Hollywood Boulevard with a ragtag group of new friends, including “Mad Men’s” John Slattery as himself. There’s a sensitive indie way to tell this story — and then there’s Wain’s giddy lampoon of “The Wizard of Oz.”

Too many modern comedies are jokeless anxiety attacks. I just wanna laugh. I need to laugh. If you need to laugh, this is your hall pass to get slap-happy. — Amy Nicholson

“Chasing Summer”

Iliza Shlesinger stars in the movie “Chasing Summer.”

(Eric Branco / Summer 2001 LLC / Sundance Institute)

Comedian Iliza Shlesinger writes and stars in “Chasing Summer,” directed by Josephine Decker. Having recently lost her job and her boyfriend at the same time, Jamie (Shlesinger) returns to her parents’ house in the small Texas town where she grew up.

As she falls back into some of the same social dynamics from when she was a teenager, possibly rekindling an old flame (Tom Welling), Jamie also enjoys an affair with a much-younger man (Garrett Wareing).

Though Schlesinger’s bawdy humor and Decker’s explorations of female interiority in films such as “Shirley” and “Madeline’s Madeline” (both played at Sundance) might make for an unexpected collaboration, it’s a surprisingly good match. Funny and insightful, the movie shows that sometimes you can in fact go home again. — Mark Olsen

The sexy ‘Sundance tribute’ in ‘Gail Daughtry’

Having the world premiere of “Gail Daughtry and the Celebrity Sex Pass” at Sundance was a full-circle moment of sorts for director and co-writer David Wain. His first introduction to the festival was Steven Soderbergh’s hall of famer “sex, lies and videotape,” and Wain noted after the well-received premiere of his new film that he “overtly stole” two sex scenes from that indie classic as “a tribute to Sundance.”

Of course, “Gail Daughtry” is about as opposite as you can get from Soderbergh. It’s an absurdist, cameo-filled comedy proudly shot on location in L.A. that co-writer Ken Marino described before the screening as a “silly, fun romp.”

Even before its theatrical release, it already has the hallmarks of a cult classic à la another Wain and Co. film, “Wet Hot American Summer,” and features many faces from that movie as well as the State, the comedy troupe that cast member Kerri Kenney-Silver explained started in a supply closet at New York University because they couldn’t get any other rehearsal space.

“Making movies with your friends is a privilege,” cast member Joe Lo Truglio said. And with their ever-expanding circle of friends, we’re the ones who benefit. — Vanessa Franko

Some deal news

Neon has acquired the worldwide rights to horror film “4 X 4: The Event” from filmmaker Alex Ullom, the indie studio said Sunday afternoon.

The deal is the first to be made in Park City so far, though the film was not shown at Sundance and will begin production later this year. The value of the deal was not disclosed.

The film follows eight contestants who join an illegal “sensory assault” livestream in which they can only harm each other with items they can buy online, Neon said in a statement.

The studio previously bought global rights to Ullom’s first horror film, “It Ends,” after it premiered at SXSW last year. — Samantha Masunaga