The last edition of the Sundance festival in Utah, a hub for American independent film, marked slow sales and a diverse mix of films, but the future in Colorado could bring a new spirit.
Sundance, the festival we all know with Robert Redford at the helm and Park City, Utah, as its location, has closed a chapter. Its beloved founder passed away last year, a few months after the festival decided to move to Boulder, Colorado.
Yet, on the empty, snow-covered grounds, discussions about the future of Sundance have been ongoing. What will become of the iconic festival of American independent cinema, in an era where it is easier to produce an “indie” (or AI-generated snippets), but harder to sell it?
The festival’s identity has always been tied to Redford and Utah, as well as to a particular kind of film and a certain concept of independent cinema. The classic trajectory of a Sundance film—enthusiastic premiere reception, all-night auction, surprise box office success, maybe a few Oscar nominations—is increasingly difficult to achieve. There are classic examples like Little Miss Sunshine, Napoleon Dynamite, Garden State, and The Big Sick, but now there are more obstacles and a generation of directors who grew up with those films trying to create the same magic.
Films that feel less calculated and less fabricated for Sundance audiences are usually the ones that work best. Last year, among the strongest narratives were: Lurker, a thriller about the music industry and the obsession with fame; Twinless, a tale of sex, lies, and identity; Together, a body horror about extreme addiction; and If I Had Legs I'd Kick You, a dark comedy about the exhaustion of parenthood.
Another film that stood out was Josephine, a heartbreaking drama about the aftermath of an eight-year-old girl witnessing a sexual assault. Director Beth de Araujo transformed the story into something completely original and touching, a harrowing experience for parents without slipping into exploitation. The film won both the jury and audience awards, a rare feat usually reserved for films with bright prospects (Minari, Coda, Whiplash). Channing Tatum, as the father in the film, is expected to receive attention for the supporting actor award, although the film has not yet been sold.
The sales market remains sluggish, especially for undistributed films. Even films starring big stars like Jennifer Lopez, Josh O'Connor, Benedict Cumberbatch and Olivia Colman have yet to find buyers. Last year, Olivia Wilde's The Invite had a successful premiere, attracting studio offers, and ended up at A24. On the other hand, smaller, limited-budget films, such as the Australian queer horror Leviticus, have also been successful, being bought for around $5 million.
However, there were also disappointments: films like The Gallerist, a satire on the art world starring Natalie Portman and Catherine Zeta-Jones, failed to attract audiences and did not sell. The festival's run coincided with the Oscar nominations, where documentaries were more successful than ever. The film Once Upon a Time in Harlem, an archival compilation of the Harlem Renaissance, was widely commented on and could influence future nominations.
Now, the spotlight is on Boulder, Colorado. Utah's wealthy, eccentric audience will slowly be replaced by a similar community, but the challenge will be to unite the festival beyond Denver and Telluride. The advantages? More stable politics and more affordable accommodations, which could allow a wider range of critics to attend.
The biggest questions are existential: What is Sundance now? What do we want or need from independent cinema? While the change of venue won’t change the type of films made, the pressure on festivals and major studios shows that Sundance’s role remains key. Next year, with the move to Colorado, a new spirit is expected that could turn its eyes to the future and not just the past. /GazetaExpress/
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