by Taylor Hess.
In and out of movie theaters, buses, cafes, after-parties, and the crowds of Main Street, the conversations at Sundance Film Festival are exclusively about movies. The fact that the cinematographer of the film you are trash-talking is probably standing behind you is negligible. There is an unrestrained and unforgiving buzz of reviews in Park City, Utah. It’s less that everyone is acting like a critic and more that everyone is just obsessed with talking about film. If you’ve been to theater camp, that’s the vibe. It’s not that I wasn’t excited to see movies and flaunt my personal ratings like everyone else, I was just more excited to sit down with filmmakers outside the frenzy of camp Sundance.
Incidentally, I spoke with international filmmakers arriving farthest outside of Park City, screening films in the World Cinema Dramatic Competition. I met with each filmmaker separately, starting with Kim Farrant from Australia, Anne Sewitsky from Norway, Alanté Kavaïté from Lithuania, Tali Shalom Ezer from Israel, and Anna Muylaert from Brazil. To round out the international voices, I met with American first-time feature filmmaker and Sundance first-timer Nikole Beckwith, whose film Stockholm, PA had its world premiere in U.S. Dramatic Competition.
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