Since the pandemic began, Sundance has offered a digital version of the festival. This year, some titles will become available on Jan. 25, including all the films in competition. “This will allow people from everywhere in the U.S. to participate and engage with the festival,” said Joana Vicente, the Sundance Institute chief executive.

Film festival

Right from the start there was a discussion whether Dronten was to become a town or a city. The first plans assumed 15,000 inhabitants, while later plans foresaw a growth to 30,000 inhabitants. The first plans for the municipality assumed ten smaller villages situated around the central town (in this case, Dronten). The number of villages was reduced because of increased motorized traffic and experiences gained in developing the Noordoostpolder, where a similar municipality had already been built. Eventually, it was decided that there were to be two smaller villages (Biddinghuizen and Swifterbant) and one larger town (Dronten).

MIDNIGHTFrom horror flicks and wild comedies to chilling thrillers and works that defy any genre, these films will keep you wide awake and on the edge of your seat. Films that have premiered in this category in recent years include Infinity Pool, Talk to Me, FRESH, Hereditary, Mandy, Relic, Assassination Nation, and The Babadook. In World Docs, there’s Eternal You from Hans Block and Moritz Riesewieck about startups which are using AI to create avatars that allow relatives to talk with their loved ones after they have died. Read our tips for visiting Keukenhof Gardens, Flower Parade, Flower Farms, Amsterdam and our Flower reports about the growth of the flower fields. This year tulip lovers from the Netherlands and abroad can admire the colorful fields walking, cycling and from the car. Tulpenroute Dronten is working even more closely with initiators in Zeewolde and Lelystad from this year on.

As for honoring Sundance’s 40 years, Soderbergh will be joined by fellow noted alums Richard Linklater, Lana Wilson, Dawn Porter, and more in showcasing new work. The preparations are now in full swing; They are working hard to expand the different routes. “It tells the struggle of Sinangoe, my community, to protect our territory. Our struggle has inspired Indigenous peoples not only in Ecuador but in Colombia and other parts of the world,” says Narvaez. So far, the Sinangoe community has successfully blocked at least 52 mining companies’ permits through Ecuador’s courts. “The only time I’ve been to the cinema was in the late 1990s, to watch Titanic in Puyo,” says Dorila Matchoa, while her husband, Vinicio Viteli, a Sarayaku curaca, can’t remember the last time he watched a movie.

When the 40th edition of the Sundance Film Festival opens on Jan. 18, filmmakers ranging from veterans like Steven Soderbergh to newcomers like the acclaimed painter Titus Kaphar and the rising director Sean Wang will debut new work. Their movies are among 82 features representing 24 countries, a lineup that serves as a snapshot of the current state of independent cinema, which has long been challenged by distribution difficulties and financing struggles. Last year’s Sundance fielded commercial and critical successes like Past Lives, Passages, and The Eternal Memory.

  • Diversity and inclusion, as well as the Institute’s talent-fostering programs, remain priorities.
  • To match the four stories, there are also four big stars attached to get the best out of the script.
  • And Richard Linklater will bring both his Netflix-acquired “Hitman” and the anthology doc series “God Save Texas,” world-premiering in the Episodic section.
  • “The audiovisual enters your heart and, little by little, you see yourself blossoming,” she says.
  • She has also worked in various capacities for the Indian Film Festival of Los Angeles, Outfest, Ambulante California, and NALIP’s Latino Media Fest, among others.

Winning a Festival award can be life changing for a filmmaker and can bring attention to the impactful stories that might not have otherwise reached wider audiences. Films in both the documentary and dramatic competition categories are eligible for a variety of prestigious awards bestowed by our juries, made up of individuals with original and diverse points of view from the worldwide film community. In addition, we invite audiences to vote for their favorites with five Audience Awards—given to one film in each of the four competition categories and the NEXT category—as well as the Festival Favorite Award, chosen from any feature category. On the other hand, some festivals—usually those accepting fewer films, and perhaps not attracting as many “big names” in their audiences as do Sundance and Telluride—require no entry fee. Many smaller in the United States (the Stony Brook Film Festival on Long Island, the Northwest Filmmakers’ Festival, and the Sicilian Film Festival in Miami), are examples. While entries from established filmmakers are usually considered pluses by the organizers, most festivals require new or relatively unknown filmmakers to pay an entry fee to have their works considered for screening.

I’ve seen most of the movies in this year’s lineup, and while I like a lot, I don’t love everything. I am, for instance, still waiting for Bertrand Bonello — who’s back at the festival with the muddled romance “The Beast” — to make a movie that doesn’t inspire tears of boredom and laughter. But at least his newest has ideas (however risible) and a pulse (however somnolent). For her estimable feature debut, “All Dirt Roads Taste of Salt,” the director Raven Jackson has pared her story of a girl and the woman she becomes down to the very bone. Beautifully shot and staged, the movie elliptically traces the coming-of-age of a young Mississippian whose life comes into focus piecemeal across the years. Jackson can test your patience, particularly with her fondness for holding on images long past their ripening.

This marks Hernandez’s first year with Sundance, after spending more than a decade with the New York Film Festival. He and the team waded through more than 17,000 submissions, a record number, and are making their mark with a landmark year at a pivotal turning point in the industry, with the festival-sales climate quieting and the future of specialty theatrical releases in flux. They’ve also scaled back digital offerings that were pioneered in the aftermath of COVID while still cementing their presence.

The eight episodic projects were selected from 573 submissions and there were 385 New Frontier submissions. Forty out of 101 (40%) feature film directors at 2024’s fest are first-time feature filmmakers, and 11 of those features were supported by the Sundance Institute in development through direct granting or residency labs. World premieres make up 85, or 94%, of the Festival’s 90 feature films and episodic programs. Finally, the long-awaited second feature of Saint Maud director and screenwriter Rose Glass, Love Lies Bleeding, will also make its world premiere at Sundance this year.