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Show .;M. .J S,..,j?:-- suss, .sat a ....i,... Sundance Still an important SI lowcase for Small by If m my Mathews talking on hands free cell phones while standing next to you at the repent cm the Dramatic and Documentary Competition Categories from last issue can be found on XED's Sundance page at www.red mag.com. venues. Since Slamdance started in 199s, many other side festivals or assemblies, as they must be called due to Park City laws preventing more than one festival occurring at the same time) have started up to showcase films that didn't make the final programming cut And Sundance is the man who kept the filmmakers out These festivals are important to keep Sundance on its toes and afraid to miss the next big thing, but it should also be considered that Sundance makes a solid effort in most of its categories (all but the premieres) to include unestab-lishe- d filmmakers. Anyone who's been to the Cannes Film Festival and seen the lines of uniformed policemen on the giant red carpet know that Sundance is a low-ke- y festival, even if it's filled with KoHywood types. Fart of fee reason that so NOTE: Jeremy's t seems to be at a point where I The Sundance Film Festival is still a showcase for independent films. The world's top showcase for independent film opens tonight with Stacey Peralta's "Riding Giants" at the Ecdes Theater, and runs through Sunday, Jan. 25, with the usual growing combinafilmmakers, tion of film-lower- s, distribution and studio reps and naysayers. In many ways, Sundance has become fee definition of a victim of success. It's hard to see an underdog in the United States' biggest film festival, especi&I'y when tigvs-jj- s, stars and dealmak-er- s are t.iiirig ski vacations and f BY f Jt ft my 4!rf ing a corpse for a funeral viewing and cleaning septic tanks. Other ta!ked-aboa- t utssde of competition which -and premieres wvw.red-mag read at V you cab com, Sundance offers marry more films in Ss many side programs, inctodmg American fibns ia-thi- Vw7imotfs "CSA; The Confederate States cf America,' a about life ia (c-- f pseudo-documenta- ry in a universe where the south won the Civil War, Matthew Bonifacio's examination of obesity, lbs ." and "Metaliica: Some Kind cf Monster which sees the metal stars in group therapy. The Frontier section, which Spectrum, World Cinema, Park City at Midnight Frontier and the Native Forum. The American Spectrum category offers a second chance for unknown filmmakers who make competition, last year's American Showcase category, started to prevent films by established directors from filling up American Spectrum, ended after ordy two yean in exchange for more premieres. The interesting and amusing documentary "Dirty Work" by David Sampliner and Tim Nackashi has showed interesting, experimental or strange works like the excellent "Decasia again will showcase films that push the envelope of cinema. "Tarnation," Jonathan Caouette's exrxsrimental docudrama documentary-musical autobiography of sorts, has received some word of mouth. Jake Mahaffy's "War looks at U.S. farmers in conflict on a decaying land. World Cinema has housed breakthrough films like "Whale Eider." While the festival's insis -- humorously examines the world of jobs most people won't do extracting bull semen, reconstruct Q ff made independent - films prestigious projects that actors want to work on because they can have moie inter- esting parts and earn respect There are two main reasons for the perception of Sundance as elitist a big-shfestival One is the flawed and limited programming process that surely leaves some fantastic films out The cth is the annual slate of premiere films. Every regular Sundance attendee has suffered through an irredeemable film, wondering how the hell it snuck Cadette a decade of independent Slamdance no resides in the shadow of Sundance. Unlike its older, more prestigious forefather which has been criticized for "selling out" the alternative to Robert Bedford's creative vision offers more consistent possibilities for the little guy. Such lasting rommitment is endearing for those left jaded by Hollywood Peter hype. Slamdance Baxter, who formed the event after his work was rejected by Sundance, is decidedly loyal to his original intent of creating something "for filmmakers, by filmmakers." "Trie films may be flawed rough around the edges but if it's something that the programmers like, then well program it." This year's festival, which runs from Jan. 17 to 24, will feature After ; ot ft tence on being the first to play the films in the United States works against the section and there might be some tepid films, others come with high recommendations. Brar3ian director Kertor Babencos "Carandiru," which played at Cannes, offers art interesting, if episodic, portrait of a Brazilian prison. Mar Boliairfs "Take My Byes," from Spain, offers a refreshingly authentic look at domestic violence after many Hollywood thrillers have trivialized the subject matter. Wolfgang Becker's award winning German film "Good Bye, Lenin!" is a comedy about the final days of the German Democratic Republic that has already been a hit in other parts of the world and has distribution. The Russian film "The Return," which triumphed at the Venice Film Festival, "A Thousand Peace Clouds Encircle The Sky" and "Silent Waters," from Pakistan, also in to competition out of 2,000 submissions. But, and here's where the claim fails, sometimes these see SMidx num. page bu Cay MaMnh The Saddest Musk in the World pits a Canadian etemn against his two ssms, whe me representing cfihet countries the tompetffion. increased venues in Salt Lake City, an addition that speaks to its accessibility. Both Madstone Theatre and Brewvies will be hosting screenings throughout the festival, with the former featuring an expanded documentary section Many locals have chosen to eschew Sundance due to the difficult nature of obtaining passes to competition screenings. Such qualms are echoed in Baxter's own philosophy. "Why should you stand in line at 1 o'clock in the morning and freeze your backside off? That doesnt sound like a lot of fun," Baxter says. "We have sold out in the past, but it's pretty easy to get a ticket for Slamdance, by comparison" Madstone s Rebecca McLoney heralds. Slamdance as the "easier" event to attend. "1 don't think it's as hectic," she says. "It's harder to get tickets for Sundance this offers an alternative, as well as a first choice arrive with awards and acclaim. Started last year, the World hasnt Documentary category enhances Sundance's strong documentary program. With its humorous archival dips and interviews, the sharp Canadian examination of The Corporation" has distinctly U.S. --related subject matter. "The Big Durian" examines the racism in. Mayalsia through a 1988 rampage a soldier went on and somehow does it with a bit of humor. Mika Ronkairten's striking "Screaming Men" looks at th e amusing antics of a troop of Finnish performance artists who scream everything from national anthems to famous laws. French director Jean Michel Roux looks at the odd Icelandic belief in ghosts, elves and many, many other things in Investigation into the Invisible World," which even has a former Icelandic president saying that she The Midnight series shows films with more of a cult appeal These include the over the top Japanese samurai film "Azumi" and "Grand Theft Parsons, the fictional account of the body snatching of The Byrds' Gram Parsons. There are also several suspensethriller films Eke Alexandre Aja's "Haute Tension" and James Wans "SAW." The shorts programs often bands helming the opening and and Money Mark the latter of whom will show his support with a number of performances. "Thats usually how we bring in music to the festival," Baxter says. "We dont just pluck something because it's popular and is going to please an audience. We really try to do it so it helps the filmmaker and the filmmaking process." Although this year's punk bands are not actually affiliated with any Slamdance entries, their presence reflects the festival's devotion to independent art "We're coming from the emerg- closing ceremonies. On Thursday, Jan 16, Radical Records' touring acts Slunt, Joker Five Speed, Queen V, Skum, and the Sex Slaves will join local bands Stiletto and The Wolfs to kick off the competition with a performance at The Vortex. "Putting on these music events in conjunction with the film festival is a tremendous amount of work but it's worth it," Baxter says. The music is often an extension cf the films themselves, such as this year's "Bruce Hack: The King of Techno." The piece, directed by Phillip Anagnos. focuses on Hack's influence on artists such as Beck ing filmmaking perspective so it makes sense to relate that to emerging music talent as well" Steven Blush, author of American Hardcore, is responsible for incorporating the New York City bands. The content of Blush's book, a comprehensive history on the underground punk scene, helps explain the reasoning behind the musical lineup Each group exudes an irreverent attitude typical of early hardcore. However, unlike the predominantly testosterone driven sounds of aggressive punk, the Radical Records crew is fueled by fierce females who know how to wield an axe. Then raucous, C., ... 10 YEARS OF ALTERNATIVE FILMMAKING AT SLAMDANCE by Jamie v zn Spectrum, l"'erf d Cinema and Other Specialty Categories Sc rva Specific niches MATHEWS j many Sundance films have high profile stars is that the festival for many (due to its convenience)." Devotion to the general public is readily apparent in this year's accompanying festivities. Events are particularly geared toward the underground, with several unsigned New York City punk in-to- seen any elves, but she has heard about them -- -- contain interesting projects. The sixth program consists of four fascinating documentaries including Too Foo Dust," a heartbreaking study of the drug addiction of a mother and con Of the films Tve seen prior to the festival, the number that suck is significantly lower than in festivals past If the b end continues, we could be in for quite a good 10 days. jeremyred-rnag.co- raunchy vibe is unlikely to appear in conjunction with any Sundance-sponsorevenues that tend to showcase established acts. Howie Goldklang, Slamdance NYC events coordinator and events producer, shakes off the notion that Sundance is somehow a better lure for quality talent "Save the guest lists and velvet ropes for other festivals," he says. "We have kick-as- s music and will party till victory." While a boost in nightlife might prove enticing for the average local, Goldklang believes the two festivals are on relatively equal footing regarding their emphasis on showcasing independent film and media. "Slamdance has found a niche and exists side by side with Sundance." Baxter places great emphasis on the growing number of people outside of the f estiva circuit who are craving quality, independent film. "The On The Road screenings have showed that there are audiences for these films outside of the industry," he says. However his interest in bringing material to the general public is belied by the filmmakers' desire to gain professional BED Magazine d see j SLAiDcf January 15, page 2004 i:j 9 |