After 2 virtual years, Sundance returns to the mountains
Randall Park made a pact with himself some years ago that he wouldn’t attend the Sundance Film Festival if he didn’t have a project there. But the “Fresh Off the Boat” star never imagined that his first time would be as a director and not as an actor.
His adaptation of “Shortcomings,” Adrian Tomine’s graphic novel about three young-ish Asian Americans finding themselves in the Bay Area, is among the films debuting in competition at the festival, which begins Thursday night in Park City, Utah.
“Sundance is the pinnacle to me,” Park said in a recent interview. “I still can’t believe we’re going.”
Park is just one of hundreds of filmmakers putting finishing touches on passion projects and making the sojourn to Park City this week, looking to make a splash at the first in-person edition of the storied independent film festival in two years.
Festivalgoers will see some unexpected turns from stars, like Jonathan Majors as an amateur bodybuilder in “Magazine Dreams,” Emilia Clarke as a futuristic parent in “Pod Generation,” Daisy Ridley as a cubicle worker in “Sometimes I Think About Dying” and Anne Hathaway as a glamourous counselor working at a youth prison in 1960s Massachusetts in “Eileen.”
“Bridgerton” star Phoebe Dynevor also breaks out of her corset leading the contemporary adult thriller “Fair Play” as an ambitious woman working at a high stakes hedge fund with a boyfriend played by Alden Ehrenreich. Sundance will be her first film festival ever and she’s especially excited that it’s with one of the best scripts she’s ever read.
“It’s quite a polarizing one,” Dynevor said. “I can’t wait to see how everyone responds to it.”
The slate of over 100 films premiering around the clock (from 8am to midnight) over 10 days are as diverse as ever. There are three films about Iranian women (“The Persian Version,” “Joonam” and “Shayda”), stories about transgender sex workers (“The Stroll,” “KOKOMO CITY”), indigenous people (“Twice Colonoized,” “Bad Press”), women’s rights and sexuality (“The Disappearance of Shere Hite”) and the war in Ukraine (“20 Days in Mariupol,” a joint project between The Associated Press and PBS “Frontline.”)
And, as always, there are intimate portraits of famous faces, like Michael J. Fox, Little Richard, Stephen Curry, Judy Blume, the Indigo Girls and Brooke Shields.
Lana Wilson (” Miss Americana “) directed the much-anticipated Shields documentary “Pretty Baby,” in which Shields reflects on her experiences from child model to teen superstar and beyond, including her complex relationship with her mother, Andre Agassi and the time Tom Cruise publicly criticized her for taking antidepressants.
“I kept coming back to this idea of agency and of her slowly gaining agency first over her mind, then over her career and then over her identity,” Wilson said.
If the past two years have proved anything, it’s that Sundance doesn’t need its picturesque mountainside location to thrive. After all, it was at a virtual edition that the festival hosted the premiere of ” CODA,” which would become the first Sundance movie to win best picture at the Oscars. “Summer of Soul,” another virtual Sundance premiere, also won best documentary last year, and both are getting encore, in-person screenings this year.
But even so, the independent film community — from the newcomers to the veterans — has felt the lack of the real thing. There is, after all, a certain magic about seeing a new film from an unknown in the dead of winter at 7,000 feet elevation wondering, as the lights go down in a cinema overflowing with puffy coats if you might just be among the first to witness the debut of the next Ryan Coogler or Kelly Reichardt.