This year the Sundance Film Festival was all about the ladies. OK, maybe halfway about the ladies, which is still a very good sign.
Watching How to Survive a Plague reminds me that we have a voice, that we are stronger together than alone, and that we can be heard, if we don't let others silence us. It is history-telling at its best and a movie I can't forget.
Documentary films can engage audiences where there's a critical need for awareness, change and hope, and an opportunity for people to get involved. Films at Sundance are the best of the best and beautiful demonstrations of art in action.
As a woman in an industry that is dominated by men, I was delighted to see that for the first time ever, women made half of the 16 U.S. competition dramas at Sundance. Women produced, directed, wrote and starred in some of the most powerful films at the festival.
For some reason, I am still at Sundance. This is now my 10th day in Park City, Utah and, well, in comparison to earlier this week, it's now a bit of...
As your time in Park City stretches on, you enter a sort of cinematic fatigue where all the films you've seen start blending into one gigantic bowl of indie chow mein. When you do get some sleep, the good films rise to the surface of your snow-battered consciousness.
Directed by Academy Award winner Roger Ross Williams, the documentary examines the relationship between American evangelical churches, their missionaries and anti-gay laws in Africa, like Uganda's so-called "kill the gays" bill.
At this time last year, John Hawkes and Richard Gere were guaranteed Oscar nominatons (neither were nominated) and "Beasts of the Southern Wild" was the next "The Tree of Life" (it was; "Beasts" earned four nominations). From sea level here in New York, it doesn't seem like any of the films at the 2013 festival have popped quite like those.
Stoker isn't for the faint of heart and yet the violence is seldom graphic -- but always shocking. Watching this film is like taking an adrenaline shot to the cerebral cortex.
I am writing this on day five of the 2013 Sundance Film Festival. At this point, Stockholm Syndrome has set in and I've begun to sympathize with m...
Dude, let's get high! This is the sentiment that appears to be at the crux of many films at the 2013 Sundance Film Festival, and while the presence of drugs in indie film is nothing new, it certainly is popping up as a palpable trend at this year's festival.
Plenty of male actors have passionately kissed male co-stars in films, as Radcliffe and the excellent Dane DeHaan do here, but it's hard to recall a Hollywood star as famous as this one simulating the act of homosexual lovemaking this explicitly or this vulnerably.
In the first 24 hours of the 2013 Sundance Film Festival, I saw six movies ranging from the continuing McConaissance of Matthew McConaughey to a documentary about a lovable politician named Dick Cheney.
This weekend "Young Hollywood" temporarily relocates from L.A. and the the fun of Sundance is finding the gems, the insightful needles among the indie haystacks. Slight skepticism aside, I've found at least one small gem so far.
Kalyanee Mam's bold new documentary, A River Changes Course, shot in a breathtakingly beautiful, cinema-verite style, breaks new ground in presenting the lives of Cambodians marching from their ancient culture into a globalized economy.
The wealth of movies exploring LGBT experiences is especially rich at this year's Sundance Film Festival, which kicks off today with a diverse, star-dusted lineup of queer movies. Here, festival director John Cooper, a gay father, offers his take on this year's achievements in queer cinema.