What an overwhelming week at the 2009 Sundance Film Festival.   My brain was short-circuited after taking in fifteen devastating and delightful movies in five days.   The cinematic experiences are so rich, so intense, and so frequent, that you cannot process all the emotions bubbling up.

Sundance reflected the many moods found at the inauguration of President Barack Obama.   Plenty of the premieres dealt with sobering realities, from civil war in the Congo to security issues in Iraq.   But a surprising number of films found hope amidst overwhelming circumstances.   From schools in Harlem to the hillsides of Mongolia, the 2009 Sundance program offered a lightness of being that departed from previous editions.   Several films were downright sweet.    You can see video snippets from our week captured by Bill Kinnon and Jason Smart at the Windrider Forum.

We saw world premieres ranging from the existential anxiety of Paul Giamatti in Cold Souls to the warm hues of romantic comedies like Adam and Arlen Faber.   Documentaries like Art & Copy explored the brightest minds behind the finest advertising, while Sergio canonized a fallen hero of the United Nations.   On Saturday night, I caught the Grand Jury Prize Winning drama, Push.   Based upon a popular urban novel by Sapphire, Push snapped me back to the inner city, reminding me how much hope endures within teen mothers despite the overwhelming odds against them.   Gabourey Sidibe pours such courage and conviction into the character of Precious Jones.   Lee Daniels’ rich and robust film, Push, deserved all the accolades that Sundance bestowed, lifting up “precious girls everywhere.”   In the coming weeks (and even months), I’ll be drawing upon these movies, reviewing them when they reach the broader public, highlighting the memories and interviews we conducted with such passionate filmmakers.

 

For example, Taking Chance, starring Kevin Bacon, premieres on HBO, Saturday, February 21st.   It is the most restrained and respectful requiem for a fallen soldier in Iraq that I have seen.   Based upon the experiences of retired Lt. Colonel Michael Strobl, Taking Chance offers viewers a rare opportunity to reflect on the human cost of the war on terror.   Such a dignified salute to our troops made Taking Chance a truly subversive risk amongst Sundance’s left-leaning audiences.   Plan on using plenty of Kleenex.    In the meantime, you can catch our discussion of this simple, moving drama at the Kindlings Muse.

 

I also had the privilege of interviewing filmmakers from four award-winning Sundance films including Cary Joji Fukunaga, director of Sin Nombre.   Cary and his cinematographer, Adriano Gordon, won prizes at Sundance for this harrowing descent into Mexican gang culture and the heartfelt dreams of Central American refugees.    Amidst our ongoing debates about immigration, Sin Nombre reminds us of the faith driving those who dare to cross the Rio Grande.   We discussed this hard-hitting thriller with Cary Fukunaga and producer Amy Kaufman here.  Focus Features opens Sin Nombre in select theaters on March 20th.

While Sundance remains a remarkable forum for independent filmmakers, it has taken some well-deserved criticism for selling out to sponsors and the star system.   Films aren’t necessarily discovered at Sundance—instead they are unveiled in a calculated marketing push.   It is easy to get cynical.   But amidst all the commerce, a purity of vision still emerges.   A documentary like Over the Hills and Far Away offers comfort to parents of autistic children.   A British feature like An Education introduces a remarkable actor like Carey Mulligan.  A Japanese director like Kanji Nakajima unveils an accomplished and transcendent debut like The Clone Returns Home.    We unwrap Sundance like a gift, eager to see what’s inside.   In 2009, the Sundance Film Festival offered a sweet and refreshing taste of hope.