Sundance Report, Day 3

We're now in the third full day of Sundance, and you can tell that the hangovers from late night parties are beginning to affect the audiences. So much of Sundance is about the thrill of the chase; the chance to screen a movie that will be a film that everyone will eventually be talking about. Or alternatively, it's an opportunity to see quality films on the big screen that will never screen theatrically again. Either way, the audience wants so badly to love the films that this euphoria sometimes overcomes their normal tastes and preferences. Film buyers in particular suffer from this malady, frequently returning with overpriced art-films that have buzz at Sundance. Perhaps the crankiness from hangovers and lack of sleep will bring people back to earth.

For the film aficionados out there, Gus Van Sant was on hand yesterday to screen a newly revised print of his first feature film Mala Noche. Mala Noche, the wandering tale of a skid row liquor store clerk who falls in love with a Mexican kid, was digitized in high definition and broadcast from a laptop simultaneously to NYU and UCLA. It's fitting that one of the most important independent films of all time would be a pathbreaker in digitally projected and transported films. One of the greatest barriers for independent filmmakers is the cost of making film prints to show at theatres -- frequently north of $25,000 per print.

Last night's late night film, Special, starring Michael Rappaport, was one of the more clever and well-acted films screened to date at the festival. Rappaport, a parking enforcement officer, wants to feel like he's special, so he enrolls in clinical trials for a new drug called "Special", which is intended to remove self-doubt. Rappaport begins to experience special powers that resemble the powers from his comic book heroes and assumes a costume and personae to match his new-found powers. The low-budget special effects and stunts are believable and the world the filmmakers create draws the viewer in for the entire film.

The documentary film Clearcut, about the struggles in a small timber town in Oregon was one of a slate of strong films that rely on a deep sense of place. The narrative film Steel City is a gritty film set in the industrial Midwest where a car accident sets in motion a series of choices for a divided family. What would you do if your son killed someone accidentally? Would you take the rap?

The documentary Five Days is getting a lot of attention as well. It's the story of the Israeli pullout from Gaza Strip, from the soldiers and settlers perspective, edited together from footage from seven individual camera crews.

And, just to give you a little of the feel of this place, the must-have accessory for Sundance is the new blackberry. Movie attendees are being scolded before each film to ensure that they don't text-message during the films. Nevertheless, you can still see little white glowing orbs throughout the theatre during each film.

More updates coming soon. I just finished an interview with John Waters that I'll be transcribing as soon as possible.

CORRECTION: There was an error in yesterday's posting misdescribing Wristcutters (a narrative film about teen suicide). Thanks for catching it.