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Show Saturday, December 5, 1998 The Park Record A-17 19S9 Sundance top picks announced Salt Lake and Robert Altman films included in premiere competition by Kirsta H. Bleyle OF THE RECORD STAFF It's almost that time, when the national and international film industry descends upon Park City, Provo and Salt Lake City. The 1999 Sundance Film Festival is scheduled for Jan. 21 - 31, and festival fes-tival officials have just released the movies, shorts, and documentaries featured during this year's event. According to RJ Millard, media executive manager for the Sundance Institute, the programming staff has have viewed over 2,500 submissions during the past two or three months. For each of the five programming staff members, Millard told The Park Record, that meant viewing about five or six films each day. "SLC Punk!," a feature film shot in Salt Lake City, is included among the premiere screenings, and the world premiere of "Cookie's Fortune," by veteran independent filmmaker Robert Altman, will kick off the festival. "Edge of Seventeen," a documentary docu-mentary by David. Moreton that will be shown in this year's festival, was also filmed in Salt Lake City, Millard said. The "huge surge" of first time filmmakers experienced during the 1998 festival has carried over into this year's submissions, Millard said. He added that there is a growing trend toward films by female filmmakers film-makers and those encompassing women's issues. As in years past, the popularity of the Sundance Film Festival continues contin-ues to grow, Each year, Millard said, the number of films submitted increases by between five and ten percent. In an ongoing effort to afford locals a chance to view the films, the festival will be selling individual tickets tick-ets to "locals only" Saturday and Sunday, Jan. 9 - 10, beginning at 10 a.m. Tickets can be purchased locally local-ly at the Gateway Center on Heber Avenue in Old Town. Individual tickets for non-residents go on sale Monday, Jan. 11. The 1999 Sundance Film Festival will include (the following information informa-tion was submitted by the Sundance Institute): Shorts Exhibited before features or combined in feature-length pro grams, the Festival's short films cap- "SLC Punk!," by James Merendino "Splendor," by Gregg Araki "Sugar Town" (USUK), by Allison Anders and Kurt Voss "Thick as Thieves," by Scott Sanders "The 24 Hour Woman," by Nancy Savoca "Two Hands" (Australia), by Gregor Jordan "A Walk on the Moon," by Tony Goldwyn "The War Zone" (UK), by Tim Roth Independent feature film competition The Independent Feature Film Competition offers audiences their first opportunity to view more than 30 features. The Grand Jury Prize, the Festival's most prestigious award, is bestowed upon a film of great artistic artis-tic accomplishment that embodies the essence of the independent spirit. spir-it. The public casts its vote to select the Audience Award winners, while filmmakers themselves honor their chosen favorite with the Filmmakers Trophy. Outstanding writing in a dramatic dramat-ic film is celebrated by the Waldo Salt Screenwriting Award, and excellence in documentary filmmaking filmmak-ing is recognized by the Freedom of Expression Award. FEATURE FILMS "The Adventures of Sebastian Cole," by Tod Williams "Getting to Know You," by Lisanne Skyler "Guinevere," by Audrey Wells "Happy, Texas," by Mark Illsley "The Item," by Dan Clark "Joe the King," by Frank Whaley "Judy Berlin," by Eric Mendelsohn "The Minus Man," by Hampton Fancher "Roberta," by Eric Mandelbaum "A Slipping-Down Life," by Toni Kalem "The Autumn Heart," by Steve Maler "The Hi-Line," by Ronald Judkins "Three Seasons," by Tony Bui "Treasure Island," by Scott King "Trick," by Jim Fall "Tumbleweeds," by Gavin O'Connor Documentaries "American Hollow,' Kennedy by Rory lure ttie crptiyfe-hiiKt aUhe ip"j P.- .American Movie," by Chris Smitfr-'-AUan Houser-Houzous, irw i'npnrtpnt fi mmnkina Short nlmc ' . independent filmmaking. Short films can introduce new talent while they direct our attention to the essential elements of cinema. A special award is granted to an outstanding film in this category. This year, the programming staff selected 58 shorts of the 1,730 entries. Premieres and special events Premieres and special events are highlights of the Festival. To showcase show-case the diversity of contemporary cinema, the Festival offers a selection selec-tion of new work. Recent years have included the premieres of "Sliding Doors," "The Spanish Prisoner," "Central Station," "Brassed Off," "Ulee's Gold" and "Chasing Amy." Premieres "Cookie's Fortune," by Robert Altman "Go," by Doug Liman "Hideous Kinky" (UK), by Gillis MacKinnon "Jawbreaker," by Darren Stein "Lock, Stock, and Two Smoking Barrels" (UK), by Guy Ritchie The Loss of Sexual Innocence," by Mike Figgis "Mr. Death: The Rise and Fall of Fred A. Leuchter, JR." by Errol Morris "The Passion of Ayn Rand," by Chris Menaul "Santitos" (Mexico), by Alejandro Springall "American Pimp," by Albert and Allen Hughes "The Black Press: Soldiers Without Words," by Stanley Nelson "Death: A Love Story," by Michelle LeBrun "Hitchcock, Selznick and the End of Hollywood," by Michael Epstein "Home Page," by Doug Block f "The Legacy: Murder & Media, Politics & Prisons," by Michael J. Moore "The Living Museum," by Jessica Yu "On the Ropes," by Nanette Burnstein and Brett Morgan "Rabbit in the Moon," by Emiko Omori "Regret to Inform," by Barbara Sonnenborn "Sex: the Annabel Chong Story," by Gough Lewis "Sing Faster: the Stagehands' Ring Cycle," by Jon Else "The Source," by Chuck Workman "Speaking in Strings," by Paolo di Florio Park City at Midnight Invariably the Festival's after-hours after-hours hot spot. Park City at Midnight provides a late-night treat for bloodshot eyes. The films are shown at the Park City Library and Education Center, located at 1255 Park Avenue: "The Blair Witch Project," by Eduardo Sanchez and Daniel Myrick "Get Bruce," by Andrew J. Kuehn "Kill the Man," by Tom Booker and Jon Kean "Los Enchiladas!," by Mitch Hedberg "Mighty Peking Man," by Ho Meng-Hua "Samurai Fiction," by Hiroyuki Nakano Frontier Presenting the avant-garde in independent film, the Frontier program pro-gram includes experimental work submitted to Sundance by American and international artists. Frontier films argue that cinematic evolution is volatile, ceaseless an entirely contingent con-tingent on the breaking or rules: "Brakhage," by Jim Shedden; "dresden," by Ben Speth; "Speedy Boys," by James Herbert; "Trans," by Julian Goldberger; and "Yusho -Renaissance," by Hiroyuki Oki. American Spectrum The American Spectrum program pro-gram enables audiences to view an eclectic array of dramatic and documentary docu-mentary works made by independent independ-ent filmmakers: "Afraid of Everything," by David Barker "Chillicothe," by Todd Edwards "The Corndog Man," by Andrew Shea "Drylongso (Ordinary)," by Cauleen Smith "Edge of Seventeen," by David Moreton "Fools Gold," by Jeffrey Janger "Genghis Blues," by Roko Belie "The Invisibles," by Noah Stern "La Cuidad (The City)." by David Riker "Langmuir's World," by Roger R. Summerhayes "Life Tastes Good," by Philip Kan Gotanda "The Outfitters," by Reverge Anselmo "Possums," by J. Max Burnett "Radiation," by Suki Stetson Hawley and Michael Galinsky ""Return With Honor," by Freida Lee Mock and Terry Sanders "Side Streets," by Tony Gerber "Twin Falls Idaho," by Michael Polish "Valerie Flake," by John Putch View from the Center: Native American Vision in Cinema The Festival's Native Vision section sec-tion presents films that overturn stereotypes to reveal authentic aspects of Native culture, spirituality, history, politics and contemporary lite: by Gil by by (Beshkempir)" "After Life" California: El Phil Lucas; "Big Bear," by Cardinal; "City of Dreams,' Jorge Manzano; "The Gift,' Gary Farmer; "Hidden Medicine," by Robby Romero; and "The Honor of All," by Phil Lucas. , . "Silence," by Jack Darcus; "Singing Our Stories," by Annie Frazier Henry; "Storyteller," by Richard Dargan; "Things We Do," by Chris Eyre; "Today is a Good Day: Remembering Chief Dan George," by Loretta Todd; "Way of the Glades," by John McCuen. World Cinema The Festival's World Cinema program is intended to expose audiences audi-ences to the issues and aesthetic explorations of visionary filmmakers from across the globe. The general public casts its vote to select the World Cinema Audience Award winner. "The Adopted Son (KirghiziaFrance); (Japan); "Baio Limite Del Tiempo (Under California: The Limits of Time)" (Mexico); "Barrio" (Spain); "Beefcake" (Canada); "Black Cat, White Cat" (Yugoslavia); "Dance of Dust" (Iran); and "Forever Fever" (Singapore). "Friendly Fire (Acao Entre Amigos)" (Brazil); "Get Real" (UK); "Heart of Light" (Greenland); "I Stand Alone (Seul Contre Tous)" (France); "Life is to Whistle (La Vida Es Silbar)" (Cuba); "Live on Earth (La Vie Sur Terre)" (FranceMauritania); and "Little Thieves, Big Thieves" (Venezuela). "Louise (Take 2)" (France); "The Lovers of the Arctic Circle" (Spain); "Megacities" (Austria); "P. Tinto's Miracle (El Milagro De P. Tinto)" (Spain); "Praise" (Australia); "Run Lola Run" (Germany); and "Silvia Prieto" (Argentina). "Southpaw" (Ireland); "The Terrorist" (India); "Train of Life (Train De Vie)" (FranceBelgiumNetherlands); "2 Seconds (2 Secondes)" (Canada); "Under a Spell (Un Embrujo)" (Mexico); "When Love Comes" (New Zealand); and "The Wounds" (YugoslaviaFrance) From the Sundance Collection During the course of the Festival, Sundance will show several independent inde-pendent films which have been under-recognized in cinema history and deserve a second look: "El Norte" and "Hard Day's Night" "American Love Story," the premiere of Jennifer Fox's nine-hour documentary on interracial relationships relation-ships "The Kindness of Strangers," a ; special screening of this moving and 1 personal look at organ donors and transplantation by Maro Chermayoff. THE SE.NP ENTMe F EOVAt USSEK. 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