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AniNate

Sundance 2016

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The 2017 Oscar buzz starts this week with the Sundance Film Festival. Brooklyn premiered here last year, as did other critically acclaimed films like Shaun the Sheep and The Diary of a Teenage Girl

 

Opening night premieres:

Belgica (Felix van Groeningen) http://variety.com/2016/film/festivals/film-review-belgica-1201685368/

Other People (Chris Kelly) http://variety.com/2016/film/festivals/other-people-review-sundance-molly-shannon-1201686115/

 

Complete schedule

http://dotorg-prd-assets.s3.amazonaws.com/pdf/film-guide/FilmGrid_Web_Jan6.pdf

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Shot in crisp, gorgeous black-and-white, The Eyes Of My Mother (Grade: B/B+) is an extreme genre movie with the skin of an art film pulled tightly over its bones. The programmer who introduced it issued an ominous disclaimer, warning the unsuspecting audience that what they were about to see might disturb them. He wasn’t blowing smoke up our asses; by the final third, when the film takes the most shocking turn in a whole line of them, viewers began to flee the theater in droves. (An elderly woman in the row ahead of me seemed visibly scarred by the experience, though to her credit, she sat through the whole thing.) Eyes begins with a woman in shackles collapsing on the highway, before cutting immediately to a secluded farmhouse, where a little girl gets a crash course in anatomy from her mother, once a surgeon in Portugal. To say much more would be to spoil the nasty surprises to come, though I will note that fans of this millennium’s French horror offerings will find much to appreciate.

 

The Eyes Of My Mother is too deliberately paced, and way too artfully constructed, to serve as red meat for the witching-hour crowd, which is why it’s not appearing as part of the Midnight slate. Pesce is the latest talent to emerge from the Borderline Films stable—following Antonio Campos (Afterschool), Sean Durkin (Martha Marcy May Marlene), and Josh Mond (James White)—and he shares with his creative collaborators a clear admiration for the highbrow horror of Michael Haneke and Roman Polanski, not to mention an expert eye and a formidable command of chilling sound design. Much of the film’s violence is implied, with shock cuts that either skip past the moment of bloodshed or offer just a lightning-quick glimpse. All the same, once Pesce had established exactly the kind of movie we were watching, I spent the rest of the relatively slim runtime in a state of near-constant anxiety, waiting on bated breath for the next nightmarish jolt. http://www.avclub.com/article/horror-houses-frat-houses-and-return-todd-solondzs-231184

 

 

Oooooh. Gonna wait for this.

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Indignation, the directorial debut of former Focus head James Schamus starting Logan Lerman, has been getting really good notices and has been picked up by Summit/Lionsgate. I imagine that they'll debut it in September like they did with The Perks of Being a Wallflower a few years ago.

 

John Carney's (Once, Begin Again) latest, Sing Street, is looking to be one of the brightest spots of the festival. Trailer is now out but US release date has been given yet (Weinstein is handling distribution).

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1 hour ago, Cmasterclay said:

Birth of a Nation just dropped. Sounds like a big time Oscar contender. 

Academy Award Nominee Aja Naomi King, please. I need the How to Get Away with Murder students (Alfred "Dean Thomas" Enoch, King, Matt McGorry, Jack Falahee, Karla Souza) going on to have huge careers.

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