Sundance Film Festival

at Eckerd College

[ecsundance]

End Of Beginnings at Sundance

There are plenty of firsts that I have experienced while in this course. First plane trip. First festival. First premiere screening of an indie. First at the last Sundance in Utah.

If you were to ask me how to define the term of definition as it were today within the film industry, I would have told you something around the lines of “I might not have the right answer now. Lemme get back to you on that really quick”. Now, after the month that I have experienced independent films with this group and on the go at Sundance I can tell you that it is a rather open and culturally fluid term. As filmmaker Aristotle Torres says, “The magic is outside the comfort zone”.

During my trip here, my favorite {and only} event that I had gone to would have to be the “From Short to Feature: Inside the Highways Lab Directors Program” talk in the Filmmaker’s Lodge. The audience members got up and personal in hearing the stories and benefits of their transition between short filmwork to more longer feature work. Although it was the only one I had gone to, it was the one that caught my attention the most. I was anticipating the moment and I was so glad to soak it up and got to hear each of their upbringings. As well as how they tied their own experiences into the work that they have crafted and yet to have crafted.

SUNDANCE RANKED RE-CAP

Here’s a compiled list of the films I have watched from favorite to least favorite over the course of this unique experience. Those labeled with a ‘D’ are documentaries and those labeled with a ‘S’ are short films.

Tuner — A guy named Niki, who has a sensitive auditory condition, tunes pianos and…cracks safes?! Utilizing the sound around the environment of the characters made the narrative so immersive and overwhelming. It made me feel how Niki would have felt to a degree; to be in his world.

Fing! — Myrtle, a girl who has practically everything, just needs to have one…more…Fing! She is like a mashup between Veruca Salt from Willy Wonka and the Chocolate Factory (1971) and Matilda from Matilda (1996). Vivid, magical and possibly my new comfort film. Fingers crossed this gets picked up and distributed. 🤞

Homemade Gatorade {S} — An experimental 2-D and 3-D animation of a lady wanting to sell homemade Gatorade on a Facebook adjacent web browser. This follows the long trip and the even more trippy {and at times, off putting} interaction between her and the buyer.

Broken English {D} — A healthy mash-up between fictional narrative and non-fictional documentary of the famous Marianne Faithful. Before the film I did not know too much about the lady. However, by the time the credits rolled I felt like I truly could begin to understand more about her and her life, not just her story to stardom.

Taga {S} — When the locals warn you about what lurks in the night normally you should follow their lead. The story follows Viv and her colleagues in the Philippines as a door-knocking beast roams the moonlit streets of a small village. The creature and the cultural immersion were a lovely added touch.

Saccharine — Hana, a medical student, tries to handle her body dysphoria and change by eating human ashes. What could possibly go wrong? So many things. I adored the foreshadowing based on the background where the characters were saying or doing. I managed to jump a few times because of our undead antagonist. 

Prime {S} — A young woman named Claire heads to a farmland retreat in order to let go of all of her trauma. The glitches and subtle plot twists kept me hooked.

The Worm {S} — A short about a teenage boy and his sheer determination to find and smush a worm. It is a pretty solid storyline.

UM! {S} — An experimental animation short film involving bird-like humanoids. The mashup between seeing animation as well as the live actor playing as a grandma made me laugh.

THE DISCIPLE {D} — A documentary film involving music and the Wu-Tang Clan. It talks about the history and the journey about the creation of a one copy album titled ‘Once Upon A Time In Shaolin’. I felt as if there were three different stories being told, all of which could become their own product instead of the film we see today.

Shame and Money — A drama feature about a family and survival. The film was a great and complex story, perhaps too complex? There were moments that were dragging, thus making the film way longer than it had to be. Not to mention the confusing ending of the main character, making the audience debate whether or not his desire became reality or was it all fiction.

Public Access {D} — A documentary about a TV channel of different series in the media. For an archival film there was a variety of content. However, the drive of it seemed to drag due to the controversies and more vulgar scenes taking up a chunk of the duration.

PIKA! {S} — A short film about a guy with an insatiable bad itch on his body as he tries to find a way to get the ointment cream to cool this itch. The film ends at an odd angle, and I wonder about the significance of its ties to the original plot.

Thank you to those I have met throughout this festival and gave me pointers in sharpening my writer’s craft and broadening my horizons within the film industry. Filmmakers. Writers. Cinematographers. Park City locals. You’ve truly made this experience one of a kind. 

And for my classmates and professors that have been with me through what will be the final days of the 2026 Sundance Film Festival in Utah…I would like to thank you. Thank you for being there for every step of this new beginning. I wouldn’t have started this year without the loving support and buzzing energy from each and every one of you. I can’t wait to see what there is in store for you in the coming years or where our paths may cross. Because let’s be frank, this is certainly not the end.

I will be very clear though with my next wording. This is not a goodbye for my adventures with film, indie film, travel buddies nor travel in general. It is simply a “see you next time”, no matter how much that time may be. 

This is DeMarria Raiford signing off!

Class of 2027

[ecsundance]

The Mainstream Has Murky Water

I went to ten screenings at Sundance: five I had tickets for, two through press and industry screenings, and three I got from the waitlist. Sundance is a game, a waiting game of perfect timing and dumb luck. If you’re in just the right place at just the right time, you might see Charli XCX get out of a black Suburban or Rob Lowe walk into the Audible lounge. That’s what Sundance is all about. 

Natalie Portman and Jenna Ortega appear in The Gallerist by Cathy Yan, an official selection of the 2026 Sundance Film Festival. Courtesy of Sundance Institute | photo by MRC II Distribution Company L.P.

But to my understanding, that isn’t what it should be about. Sundance is about independent cinema. Independent from big studios, from big stars, from the corporate stardom and staleness of Hollywood. 

If you’re in just the right place at just the right time, you might see an Iranian film about which you know nothing. You might learn the directors, a married couple, smuggled it out of Iran, where the simple act of making art can get you arrested. Although it’s nothing shiny, nothing glamorous, and the film isn’t even in English, it might be the best thing you see at the festival. It might bring you to tears, humanity portrayed so delicately on screen. A heaviness in your heart you can’t describe, the catharsis that comes with understanding. That’s what Sundance is all about. 

Michael Newman writes in “Indie: an American Film Culture” that independent film relies on film festivals to establish them as works of art. “The festival,” he writes, "fixes a film’s worthiness as artwork rather than commodity,” (Newman 82). But this definition is certainly challenged by the Sundance of today. While it’s exciting to see Ethan Hawke, Olivia Wilde, and Seth Rogen, in this year’s festival films, it does propose the question if festivals are becoming, in a way, more mainstream. I mean, Charli XCX was in not one but THREE of this year’s Sundance films.

While Sundance will obviously never show the next “Fast & Furious” film, it has become a radar for some of the year’s biggest pictures. It’s also known as a celebrity hub and a fashion catalog. It seems as though film is very much a commodity. If I’m being candid, my favorite memories from Sundance will be running into Ken Jeong and Amelia Dimoldenberg from Youtube’s Chicken Shop Date. Going to big break-out premieres and seeing stars like Dave Franco and Riz Ahmed speak about their films was incredible. But it does make me reconsider our original understanding of “indie” from this class. 

Indie, in nature, only earns a definition from the public’s idea of it; something is indie once people start calling it so. People typically latch on to a vibe: B-list actors, a little rough around the edges, a little more playful in form, anti-Hollywood. 

The conclusion I came to, by our trip’s end, was that perhaps the public’s idea of “indie” still rings true, but our expectations of Sundance have changed. Of the screenings I saw, “Tuner,” “BAIT,” “I Want Your Sex,” and “The Shitheads” all seemed to fit into a more typical Hollywood narrative. Each of them had popular A-list names on the cover, and they all began with a sense of urgency, a purpose, a structure. All things considered, “Tuner” and “The Shitheads” were two of my favorite films I saw at Sundance, despite not being very indie. They were playful, poignant, and fascinating to watch, hilarious and sad in all the right places.

O'Shea Jackson Jr., Dave Franco and Mason Thames appear in The Shitheads by Macon Blair, an official selection of the 2026 Sundance Film Festival. Courtesy of Sundance Institute.

“Ha-chan, Shake Your Booty!,” “Filipiñana,” “The Friend’s House Is Here,” and “BURN” all latched onto my definition of indie more clearly. They never presented a clear goal: they were more focused on the characters they nurtured, anti-Hollywood in their structure and visual presentation. I also think it’s no coincidence that none of them are American films.

Then there’s “The Incomer” and “Everybody to Kenmure Street,” both films from the UK. They were both gray, eager, and a little jumpy, straddling the line of the expected and unexpected. They both had off-beat style and a freshness to them that was unfamiliar. 

On our last morning of the festival, cold, tired, and rejected from a Chloé Zhao creative embodiment session, Ashley and I wandered into the Adobe lounge. There, we stood in the back eating free cinnamon rolls during a panel on the grit, passion, and inspiration of filmmaking. No one on the panel was white, and most of the filmmakers were women. No one on this panel was a filmmaker I had heard of, and they all had such inspiring things to say about why film is important to them as a vessel for storytelling. 

That is why “The Friend’s House Is Here,” was one of my favorite films of the festival. It tells the story of real people, unfamiliar people, ones that aren’t often given the mic. It’s a story valuable enough to the filmmakers that they risked their livelihoods making it. The story is nothing to gawk at; it’s not a heist film or a superhero movie. It’s a long take indie realist film about a young adult friend group that supports each other in times of need and eventually, one person at a time, drifts apart. It is grounded in humanity, it is art, it is indie. 

A still from The Friend's House is Here by Hossein Keshavarz and Maryam Atae, an official selection of the 2026 Sundance Film Festival. Courtesy of Sundance Institute.

And I suppose, for similar reasons, that’s why “I Want Your Sex” was one of my least favorites. Don’t get me wrong, getting into that premiere was one of the best experiences of my life. But from an artistic and indie standpoint, it wasn’t memorable. It didn’t alter the way in which I see the world. It was gaudy and star-studded, but, at the same time, I will admit it was quirky and very fun to watch. 

Sundance was, in a way, its own indie experience. Out all day in the freezing cold, eating microwave ramen at 1 a.m. to get some sustenance before heading out again, having no plan and no goals to achieve, hoping something cool happens and enjoying your time with a working press pass around your neck.

Sundance confused me. It was a wonderful exercise in remedying FOMO, managing expectations, and living in the moment. There are only so many places you can be at once, and some of the best experiences are the unknown ones. Although I knew that the best way to see artful indie realism films was to pop into screenings I had heard nothing about, I couldn’t help but to claw my way into the big premieres. 

Do too many people want to make indie films? What does a director do once they have the notoriety and funds to exclude them from this style they love? How many Charli XCXs is too many Charli XCXs to still identify as indie? When do we classify it as mainstream if its selection into Sundance might not be enough?

I guess that’s for the locals on the bus, the film critics from Seattle, the volunteers, and the students from Florida to decide. It’s a game of perfect timing and dumb luck. And our idea of art is always changing.

Life is a highway indie movie,

Nicole Vogler

[ecsundance]

Sundance Final Blog: Expect The Unexpected

I feel like the best way to summarize the Sundance Film Festival is to expect the unexpected. So many things happened to me throughout what may turn out to be one of the busiest weeks of my life thus far that I would have never expected, and I honestly had to learn the hard way to take the good with the bad and to just keep on pushing. I came into the festival with a strict idea of what I was going to do when, but turns out things are not as simple as they may seem in reality. When we arrived in Park City, Utah at the beginning of the week, I only had one ticket to a film, the lowest in the class. I told myself I was going to make the festival work for me and game the system so that everything went exactly my way for 5 days straight, but I learned through this experience that there is beauty in the unknown. When in Park City, I did not see The Moment or I Want Your Sex (despite my best waitlisting efforts), the two movies I was more than convinced I would be seeing months before the trip had even begun, and by the end, I was actually okay with it. I found out so much about the film world, and saw so many perspectives and voices I never would have known to look to before arriving in Utah thanks to the chaos of the festival. I think the destruction of my plans kind of lead me down the right movie-watching path in the end, because I feel like I saw some films that ended up being better than anything I was expecting to see.

Let me talk about the film that really encapsulates my feelings about the whole experience, and Michael Newman's claim that indie film cannot be defined simply in economic, stylistic or thematic terms, and needs to be understood culturally, The History Of Concrete. This was my personal favorite film from the fest, a DIY exploration of everyday people, the humor that can be found in our day to day life, and the joy that comes with interacting with the people around you and making genuine connections. I feel just as this movie did, I was able to make so many genuine connections with people from completely different walks of life and places across the world on this trip. Just like in the documentary I was pushed into situations that made me open up to others around me, in a very real way I’ve almost never felt before. This film really is very in line with Newman’s ideas because it helps paint a very vibrant understanding of the culture of every day life in both New York City, and America as a whole. This film is about as low budget as it gets, and real to a tee, as most of it is film handheld on the street, encapsulating what it is like to be alive in 2026. It is the purest definition of indie filmmaking as director John Wilson really put his all into the making of this film, even without the help or support from others, his passion to create drove him to make something that deeply moved me. I feel as if this festival has also affected my taste. In the 24 hours since leaving Utah I have already begun looking into the filmographies of the directors I saw at Sundance, and am going to start going through their other works. For example, I have started watching John Wilson’s show on HBO, How To With John Wilson, and I'm loving it. I really am going to hold onto these memories I made at Sundance and let them continue to guide me and influence the choices I make in my life. In the end, I watched eight films over 4 days this year and this is how I would rank them.

The History Of Concrete (10/10)

BURN (9/10)

The Last First: Winter K2 (8/10)

Cookie Queens (8/10)

Kikuyu Land (7/10)

Mum, Im Alien Pregnant (6/10)

Jaripeo (6/10)

LADY (5/10)

I'm really thrilled with the fact that I didn't see a single film I didn't like at the festival, the worst being okay at worst, I think my selection turned out to be pretty good. In the end, I really enjoyed the entire experience, getting to meet new people and see artists get praised for their work, enjoying the snow and weather I don't get to be around often, and soaking up the energy of being surrounded by people passionate about the same things as me. I can't wait to finish up my Sundance experience with an online screening of The Incomer this weekend,I had such a wonderful time, and I’m sure this won't be my last Sundance! See you all soon.

Signing off for now,

August Lambrecht

[ecsundance]

The Bittersweet Ending of an Incredible Experience

Everything good must come to an end. For me, this is the Sundance Film Festival. The festival has broadened my horizon on independent filmmaking and the art and creativity that makes indie films and Sundance what they are. The festival itself is breathtaking and I don’t mean just the setting it's set in in the mountains. Sundance has created such an amazing community of people that I will cherish forever and will look forward to going back to. Since this is the last time Sundance is held in Park City, I realize that it will never be the same since the location is moving, however I know that Sundance itself will never change because of the people in the community that make Sundance what it is. 

I have learned an incredible amount about independent film from Sundance alone. Through the films I have seen, I have learned the diversity and creativity that indie film is. Indie film is commonly misconstrued as just less funded films, with some truth to it, I have also witnessed the artistic creativity that is indie film and how it could never be boxed into a single category because of that. Indie to me is total creative freedom that I was able to witness through the many films I saw at Sundance. 

Independent filmmaking wasn’t the only thing I learned at Sundance however. I have seen firsthand through talking with several Sundance attendees that film festivals itself have evolved severely. I spoke with a woman named Barbra Bretz who has been attending Sundance for over 20 years. Barbra was able to give myself and my classmates some insight into what Sundance was like several years ago. She had mentioned Sundance has grown incredibly over the years and has been able to create the community it has now. It was amazing to hear about how there was a protest at Sundance for women’s rights where thousands of people came out to support. This kind of community is something that was built over the years that holds such a special bond between Sundance and the people. 

Now we get into the fun part of what films I was able to see. I had first mentioned in my first post, “have you ever wondered what it is like to dangle 900 ft in the air with only a cable holding you.” Well, unfortunately I wasn’t able to see that specific film so unfortunately I do not have the answer for you. However, I saw some incredible films that are absolutely worth the praise they are getting. The movies I was able to watch were The Huntress, The Disciple, Ha-Chan Shake Your Booty, Tuner, and American Doctor. All of these films were completely opposites of each other, however I believe that each were done very well in getting their points across through storytelling. As I mentioned earlier, indie film is total creativity, and each of these films that I watched are prime examples of that. The Huntress was a compelling true story that invoked emotions to the audience about life living in Mexico City. The Disciple was a documentary about the single copy made of one of their albums. Ha-Chan Shake Your Booty was a comedy about how grief can take over someone and the importance of moving on. Tuner was a heist movie with elements like romance, comedy, and suspense. Lastly, American Doctor was a documentary about three American doctors who entered Gaza to treat the wounded and what they endured being in the middle of the war fighting for their lives while trying to save others. Each of these being completely different from the next, were incredible examples of what indie film is and how it could never be confined into a singular definition. My favorite film from the ones that I saw was Tuner. I absolutely fell in love with this movie. Granted this movie is one that I would normally choose to watch over a romance movie, however that also means that I hold a higher expectation of it because of all the movies I have seen that are similar to it. (For example my favorite heist movie Ocean’s 11). This movie was completely unexpecting and had several plot twists that I was not expecting. Each heist left a suspense and there was an incredible bond between the main character and his partner. This build up tied with the suspense left a shattering ending that left a lot of questions unanswered. However, the movie left me satisfied even with all the unanswered questions because of the information that was provided throughout and how it tied to the ending. My least favorite film that I saw was The Huntress. While I thoroughly enjoyed this movie, I wouldn’t say that there was anything wrong with the film, I just enjoyed the others more, making it my “least” favorite. There were also some incredible pop-up events that I was able to enjoy including audible which had a pod that you entered and could get a 30 second story to listen to. There was also a Little Miss Sunshine pop-up that was selling merchandise along with hot chocolate and donuts. I thoroughly enjoyed getting to go to both of those pop-up events mainly because of the people I was able to connect with while attending. 

Unfortunately this will be my last blog post however, I have learned so much from Sundance and I hope I was able to teach you a few things while also making you smile and even have a little chuckle. I will miss Sundance and the amazing people I got to experience this with. I encourage everyone to go experience Sundance one day even though it won’t be in Park City. The community itself has me looking forward to the next time I will be able to attend. Hopefully one day I will be able to see some of my filmmaking friends attending Sundance with their films one day. Until next time, I hope to see you at Sundance! 

Independent Film and Sundance Enthusiast, Jillian Astore…over and out.

[ecsundance]

13 Films Over Four Days

Sundance does not care about your sleep schedule. 

It does not care if you’re hungry, late, confused, or standing outside Eccles, wondering whether the 100th spot on the waitlist will get you in. 

This year, I watched thirteen films at the 2026 Sundance Film Festival, with thirteen different moods. Thirteen different definitions of what “independent film” is supposed to mean. Some were quiet and devastating. Some were loud and strange. Some felt deeply personal, like you had wandered into someone's mind and uncovered their memories without permission.  And somewhere between public screenings, private press and industry showings, and a conversation with someone from Prime Video casually dropping that they were deciding whether a film might be purchased or not, my understanding of the business of film changed. 

Sundance isn’t just a place where films are shown. 

It’s a mark. 

A signal that no matter where you’re from, who you are, or how little money you had, you made something that demanded to be seen. Even if only briefly. Even if only once. Even if in the room, someone is already calculating their future before the credits roll. 

Having a press pass changes the way you experience Sundance, another layer of the business element of film seeping in. You start to notice the difference between public and private screenings almost immediately. Public screenings are filled with laughter rippling or silence landing heavily on an audience's reactions; they feel emotional, and the experience feels collective. Industry is showins are smaller, which you would think is more intimate. In reality, they are quieter. More contained. People don't gasp. They write. They lean back and check their watches. More phone lights are sometimes visible, even on computer screens and fingers typing away. 

The same film can feel electric in one room and sterile in the other. 

That contrast made Newman’s argument finally click for me. At Sundance, the boundaries of independent film collapse almost instantly. What defines indie film here is context. Who is watching? Why they’re watching. What they’re hoping to gain from it. 

That became clearest in the films that stayed with me the most. 

Burn was my favorite film of the festival. 

The camera put you directly into the kids' perspective in the film; low angles, fast movements, always a little off balance. You weren’t watching them; you were with them. 

The film moves fast and messily, the way real life does when you're young and trying to survive. One moment is funny, almost absurd, the next is sad. Then suddenly painfully real. The shifts don't feel planned. 

What made Burn work is that it doesn't explain these kids or try to fix them. It lets them exist. The humor doesn't cancel out the pain, and the pain doesn't erase the humor. Both sit next to each other in the way they often do. 

Filipiana, my second P&I film, at first glance almost feels playful. The framing is precise, the coloring and movement are carefully controlled, reminiscent of a Wes Anderson-style world where everything looks intentional and balanced. From the beginning its visually beautiful, drawing you into the story. 

Only at the end of the film does the anger of our main character surface. There is no choice but to engage as an audience with the reality that children were relocated from their homes to maintain a golf course built for someon elses leisure. The film’s carefully ordered visuals stand in sharp contrast to the layer of reality. By the end of the film, the beauty is no longer a comfort. What looks calm and controlled is held together by labor meant to remain unnoticed. 

As an honorable mention. Zi stood out for a completely different reason. 

Shot in just three days in Hong Kong, Zi carries the energy and exhaustion in its bones. It was made by a small group of people with a clear vision and a director who worked tirelessly, barely sleeping or eating, pushing the project forward solely on momentum. Zi isn’t impressive because of its polish. It’s impressive because its collective belief from the cast and crew.

Between films, there were hours spent in lines, sometimes convinced I wouldn't get in, only to be the last person admitted in on the waitlist. There were sprints through Park city chasing a screening or nearly missing the bus. There was running after Ken Jeong after watching BURN. There was exhaustion stacked on exhaustion. 

But there were also conversations that could only happen here.

Strangers brought together by forced proximity and the strange community that forms while waiting. A mother and son who live nearby and make it a tradition to watch at least one film together every year. A volunteer who has come 29 times simply to feel close to new stories. A journalist writing reviews while crashing on a friend’s couch, barely scraping together enough money to be here at all.

There’s a constant buzz at Sundance; not just from the films themselves, but from the people orbiting them. Conversations overlap, exchanging names, opinions, and recommendations, then disappear back into separate screenings, strangers again.

All of this unfolds against the backdrop of Utah’s vast, still landscape. The air escapes your lungs a little faster here. It reminds you of where you are. It reminds you that you’re alive. 

Before every film, the same interview with Robert Redford plays. He says, "Storytelling keeps us alive; it's what sustains us." 

Here, standing in the cold, moving from line to line, watching strangers gather in the dark, you feel that more than anywhere else. 

Izzy Wild Merl

[ecsundance]

Another Perspective, Another Discovery (Days 3 & 4)

“It is not the movie itself, but the conversations held afterwards,” Filmmaker Aristotle Torres said. His words, among many others that I have met truly made me look through a different lens through the rest of the festival.

~Day 3~

Starting off strong with a bit of nostalgia and comfort was Jeffrey Walker’s family matinee film Fing! (2026). The movie was a mashup of Willy Wonka and The Chocolate Factory (1971) with Veruca Salt and Matilda (1996) with Matilda. Combining the brattiness of Veruca Salt with the whimsical and determined nature of Matilda brings about the spectacle of growth and familial relationships (new and old).

In the film, the audience is introduced to the Meek family {And yes, that is their actual last name}. While the mother Maureen (Mia Wasikowska) and Christopher (Blake Harrison) certainly are viewed as the meek librarians in their town, their daughter Myrtle (Iona Bell) is anything but meek. With her fiery hair and even more burning passion to have anything brings about more than just trouble in the home. Adding a rare creature known as a Fing to the mix brings not only chaos but the curiosity of reflection and change. Before Fing had come into Myrtle’s life, she was loud and snobby but not without reason. All she really wanted was for someone to understand her and to have a friend to turn to. As I’ve watched the film I could see that and could fill myself into Myrtle's shoes from a point in my childhood. And I’m sure if you were to watch this film, you too, would feel the same way.

As the movie concluded, the crowd of children and adults all rose from their seats giving the cast and crew a thunderous applause, cheering and whistling. The director mentions that it is the first time any kid has seen the film on the big screen. And maybe by extension, kids by heart too. I truly felt like a kid again by watching this film. If I could watch this film for the first time again I would do so in a heartbeat.

There would have been more to add about my adventures in Park City however, I became ill for the remainder of the day. Though I was ill, I devised a plan to make-up for the lost time for the following day, my final day at Sundance.

~Day 4~

Back into action the next day, I made it my goal to truly explore what Park City had to offer. Over the course of 15 hours, I had walked over 16k steps from the edge of main street to the many theatres in the area {with the assistance of the High Valley Bus Transit System}.

Walking through the main streets and back streets of Park City, I really took into the smallest of details like the frozen over fountain. It was magical to see how the ice formed from the water. Even more to sit by the edge and listen to it as I catch my breath and get my bearings across.

Little worlds of wonder can be found in nearly every corner of the small ski town. Even a small, blue newspaper stand can bring about a smile to those who take notice. Opening up the stand, you can see a mini-diorama of theatre {I believe the inside of the Egyptian}. I merely discovered it by accident from watching other festival goers and was glad to see such small and intricate artwork. Still...it is a mystery if it was there all this time...

Tune in next time,

DeMarria Raiford

[ecsundance]

Sundance: A Cultural Experience

Sundance film festival is often talked about in mythic tones in film circles because it proves that you have made it independent film artist. Be it a person’s first narrative debut, directorial debut, or some’s first ever film getting into somewhere with as many myths and legends behind as Sundance is a life-changing experience. But what does it mean for a festival ,that’s purpose is to show what the United States Audience wants, is about standing up to bigots, racists, and people who use their power to hurt others?

In simple terms, that the American people are tired of feeling helpless when it comes to the policies that are changing and often censoring the voice of the people they are trying to protect. The way that this years Sundance picks are tales of taking power away from those who have it and use it for wrong, facing fears to be your authentic self, or just trying to finally be who you are is what the message of this year’s Sundance was.

It fits into the idea of what indie films are, that it is something to be understood culturally, and the films I watched fit into this cultural narrative of overcoming obstacles, be it those that were placed by society or ones that were given to you in life.

Here is a ranked list of my favorite to least favorite from both the feature films and Documentary short films which will be stared with *.

Leviticus – A queer love story set in the wilds of Australia that had you not only face fears but learn to live with them.

Everybody to Kenmure Street – A documentary on how a community came together to stop the deportation of their neighbors in Glasglow, Scotland.

Going Sane The Rise and Fall of the Center For Feeling Therapy* - A new take on archival found footage films about a psychological experiment gone wrong.

Cookie Queens – A documentary about who family and friends are while trying to sell as many girl scout cookies as possible.

The Baddest Speech Writer of All* - A half animated documentary on the speech writer for MLK jr’s I have a dream speech.

The Huntress – Set on a border town in Mexico one mother decides to stand up for what is right against men who do harm.

The Chimney Sweeper* - A quirky little documentary about the family who created nutcrackers.

The Boys and The Bees* - A documentary about the reclaiming farming land in the South and raising children on that principle.

Jaripero – A documentary letter about a man’s queer journey in the world of jariperos rodeos.

Luigi* - A Documentary about people’s fascination and meaning behind Luigi Mangoine.

Tuktuit: Caribou* - A Documentary about one Inuit woman’s connection with the land.

Still Standing* - A Documentary about what happens to the homes of people who did not burn down in the fires of California.

Tuner – A young man with acute hearing syndrome learns how to crack safes to help his uncle.

Tell Me Everything – A son finds out his father is gay during the AIDs epidemic in Israel.

Each of films were great be it through sound design, acting ability, cinematography, or editing. These are my personal rankings based just how much I liked the story and the other factors combined to tell that story.

I went to one panel that I was very lucky to get into having taken the last seat in the normal ticket holder line. It was A Redford Legacy and Exploration: The Future of Environmental Film. It was introduced by Robert Redford’s daughter that panelist who were Jill Tidman, Conor Schlosser, who is related to Redford, Sara Dosa, and Daniel Hinerfeld. Each one is some form of environmental filmmaker that touched upon the future of environmental filmmaking and protecting lands and fighting against policies just like founder of Sundance Robert Redford did. It was a talk that was very insightful that the next step in this kind of filmmaking is to make films that are narrative and entertaining that have something to do with protecting the environment.

Sundance is supposed to be a reflection of what America is at this point culturally. I think then that this was a successful year with a mix of American and International films that showed groups of people from a whole block to one woman making a stand for the common good of their communities. As well as that films about living your truth and not having to live in fear from the wilds of Australia to 1980s of Isreal. Each story I saw at Sundance showed me that the world I grew up in is still worth fighting for the future of this generation and the next.

Hopefully I can go back to this inside look of American culture once it is in Boulder, CO. For now, this is Cas Bernick saying good bye and keep those raindrops from falling on your head.

[ecsundance]

Park City's Last Sundance

This past week has felt months long. Sitting here at home, it feels like a lifetime ago. I am extremely grateful to have had the opportunity to visit Sundance. Hopefully this is the first of many attendances, as the ambiance and experience were unmatched by any other festival I've been to, let alone any other theatre experiences.

Independent filmmaking has always been something I'm interested in, because independent films have a personal touch that mainstream films do not have. Dr. Michael Newman, a professor at the University of Wisconsin-Milwaukee, claims that indie film cannot be defined simply in economic, stylistic, or thematic terms, and needs to be understood culturally. I believe he is exactly correct, particularly because I was surprised that some films were at Sundance. These films (The Invite, Tuner, and Mum, I'm Alien Pregnant) highlighted that "indie" is subjective, though I will note that I could not make it to either The Invite nor Mum, I'm Alien Pregnant.

This festival was extremely chaotic and quite overwhelming. I had been to a few film festivals already, but none were like this. When I first got to Sundance, I had five tickets, half of which were to films I didn't particularly want to see. I ended up with eleven tickets total, not including one I sold via Reddit (which is very common at Sundance). Being at the festival really did feel like you were at the centre of the United States filmmaking world. I even saw a few big celebrities, including Rob Lowe and Dave Franco.

Something that I hadn't thought about outside of hypothetical scenarios was how films were bought at film festivals. There were special screenings for press and industry (P&I screenings) and apparently this is where distributors decided whether a film was profitable/marketable/worth it or not. I even heard that several distributors walked out of the P&I screening early for Carousel, which stars Chris Pine and Jenny Slate. I actually was trying to get a ticket for that, so I'm almost glad I didn't.

I found this whole P&I screening situation really interesting, since independent film is defined in opposition to mainstream film, how do they decide whether a film is marketable or not? I suppose it largely has to do with audiences and current events. For example, there were several films related to the situation in Gaza, a hugely important and topical event. I am very interested to see which, if any, films get distributed on that subject.

Unfortunately, one of my least favourite films of the festival related to the situation in Gaza. The film is called All About the Money (2026), as focuses on James "Fergie" Cox Chambers Jr. who is a multi-billionaire and a communist. I was interested to see how the filmmaker would approach his beliefs and actions, as he has said and done very questionable things, particularly about Jews, however, the filmmaker did not question him or press nearly as much as I think she should have, both ethically and artistically. The film felt strange and like it was missing something important due to this. This atmosphere also led to a bad atmosphere and the booing and jeering of a Jewish man during the Q&A, which the filmmaker did nothing to quell.

A film that, on the other hand, was probably my favourite of the festival, was the film Leviticus (2026), which I was informed this morning received a seven-figure deal with the Neon distributor. I am extremely pleased to hear this and if it is released in theatres, I will absolutely be rewatching it. This film really freaked me out and got everyone in the theatre really well with a very well-done jump scare about halfway through the film. The film is about queerness, homophobia, and the terror of being found out. I really loved this film and hope to see it and the filmmaker succeed in the future. Leviticus was a fantastic directorial debut, which an intention and focus that made it clear that the film had been carefully planned and thought out for years beforehand.

Another of my favourite films of the festival was the film Tuner (2025), which stars Leo Woodall and Dustin Hoffman. The sound design was the real star of this film. I am very hopeful that this film gets picked up, as I believe it would appeal to many people. It was both very funny and very touching, to the point where I had to slide over a pack of tissues to the people I was watching the film with during its premiere. I think this film would do very well with a theatrical release, and I would champion both this film and Leviticus to anyone that would listen if they were to receive one.

The other films I watched were Hanging by a Wire (2026), Ha-chan, Shake Your Booty! (2026), THE DISCIPLE (2026), TheyDream (2026), The Best Summer (2026), and BURN (2026). Hanging by a Wire was extremely good and was a thrilling retelling of a news story that had totally passed me by in 2023, when its events happened. I would absolutely recommend that people watch this film, and as someone who's half-Indian, I really appreciated the filmmaker's intent to show people of the Global South as well rounded, funny, and determined, rather than victims of poverty.

Ha-chan, Shake Your Booty! was another film that I loved, and was delightfully weird and wonderful. The film approaches loss and depression with a humour that warms the heart and while I am not sure the film will receive theatrical release (because it's quite strange), I have some friends that I know would love it.

THE DISCIPLE and The Best Summer are both documentaries focused on musicians, and unfortunately, both disappointed me. THE DISCIPLE was meant to focus on the development and distribution (or lack thereof) of Wu-Tang Clan's album Once Upon a Time in Shaolin, which they only ever made one copy of. The film appears to have gotten lost along the way though and was clear to have been only just finished. The Best Summer was also a rushed project, with the filmmaker only having found the material during the Los Angeles fires in 2025, giving her less than a year to create the film. While THE DISCIPLE felt like it had too many things it wanted to talk about, The Best Summer felt like it had nothing to say. The film lacked a story, which may work for some films (that are usually more centred on character), but made this film dull and low energy.

My final film of the festival, and the most unique, was BURN. This film was, in short, phenomenal. The film experiments formally and has a spectacular sound design that plays with reality. The filmmaker says that if he had approached the story in a less fantastical manner, the film would have been too sad to release. This film genuinely made me sit in my seat for several long seconds after and feels impossible to put into words. I don't know whether the film will be picked up by distributors, due to its experimental elements and harrowing story, but I believe it is doing something many films aren't which is why the film was placed in the NEXT program of Sundance.

I was unable to make it to any panels or talks, which is a shame. I spoke with several filmmakers, film critics, and festival workers outside of screenings, however and got many words of support and much encouragement, which was very kind. This all added to the communal atmosphere of Sundance, and my amazing first experience at the last Park City Sundance.

IK

[ecsundance]

Goodbye for now Sundance...

After attending my first, and hopefully not my last, Sundance film festival, I feel that I have a greater understanding of the festival culture and the culture of independent films. Thinking about what Michael Newman said about how Independent film cannot simply be defined by the economics, or the style and themes like other genres of film, but rather needs to be approached culturally. And boy oh boy was Sundance a beautiful way to experience the culture of independent film!

The buzz and energy that this festival gives off is evident from the moment I stepped foot in the Utah airport. The energy was all around, and all I could think about as we navigated our way to our bus was how many of these people will also be attending the festival? It is an all consuming period of time where the outside world feels frozen. All responsibilities, worries outside of the festival, even responding to texts (whoops) completely left my brain and all I wanted to and could focus on was this festival.

The energy feulled me the entire weekend, even with very little sleep somehow I was able to go nonstop for five days straight. There is something so incredibly powerful about that many people being shoved into a small town, all there because they are involved with and passionate about film. Wether it was simply a cinephile indulging in the joy of doing nothing but watching movies and maybe catching a celebrity sighting, or someone involved in the industry there to try and get funding for their current and future projects. It is an energy of hope, sadness, expectation, dissapoitment, excitment, and everything in between. The good and the bad all in one place, and a place that makes the bad feel a little less painful. 

Every movie I saw, and panel I attended left me feeling so incredibly inspired and ready to create something with my own hands. Speaking of the movies and panels I saw, I want to talk about my definite favourite's that I got to see during this weekend. This was a very hard choice. How can you pick between two films that were so engaging yet so incredibly different? The two I ws battling over were Tuner directed by Daniel Roher, and The Friend’s House Is Here directed by Hassein Keshavarz and Maryam Ataei. And actually, I have decided I am not going to choose between the two. I think both of these were my favorite, Tuner was engaging in a classic crime thriller way, but was still able to pull heavily at my heartstrings and had me sobbing in the theater. And the skill with which it was made, the sound design and music especially, were so incredible. And The Friend’s House Is Here just felt so important and heavy. It had to be smuggled out of Iran to get it to Sundance, and I felt so lucky that I was getting to watch the characters just trying to create art in a place it was dangerous to do so, if ever you have the opportunity to see this, I heavily suggest you do.

Now more on the worse side of things, my least favorite film I saw was The Disciple directed by Joanna Natasegara. This wasn’t bad by any means, and infact for the first half I was incredibly engaged and entertained. The pacing felt fast and intriguing, and I had never heard this story before so I was excited to watch it. It is a documentary about the Wu-Tang Clan and their album that only had one copy made. While I was very interested in this story, the second half dragged onto eternity. The structure felt like it kept repeating itself and I was wondering over and over when the final beat was going to land and it would be done. 

Besides these three I saw Ha-Chan Shake Your Booty! Directed by Josef Kubota Wladyka, which was so incredible! It was so much fun but so heartbreaking as it delt with grief, the colors were vibrant and aided in telling the story and the characters were all so engaging. I also saw Hot Water directed by Ramzi Bashour, a film about a mother and sons journey after the son gets kicked out of high school. The pair then takes a roadtrip west and their relationship also takes a journey and It was so beautiful and moving. I also have online tickets to watch The Incomer directed by Louis Paxton, and Bedford Park directed by Stephanie Ahn. 

I got to attend two panels while there and they both left such a strong spark of inspiration for me. The first was at the DropBox house with indiewire, and it was all about the messy middles of projects and all that the audience doesn’t see. All of the hard and long waiting in between while filmmakers try and find funding, or when things go wrong. On this panel were directors Noah Segan, Louis Paxton, Stephanie Ahn, as well as David Alvarado. The second panel I happened upon by chance. After a cold morning when I didn’t get into a talk with director Chloe Zhao, I pivoted and decided to go to the Adobe House for their next-gen filmmakers panel. And I am so glad I did. On the panel were directors Stephanie Ahn, Giselle Bonilla, Anooya Swamy, Vera Miao, and editor Daniel Chavez. This one was especially inspiring as majority of these filmmakers were student’s or recent graduates, and It felt good to hear them talk about their films and what it ment for each of them to be apart of this next generation of filmmaking. It left me feeling very excited and full of anticipation!

Goodbye Sundance and Park City!

-Ashley Armstrong

[ecsundance]

I see my Future, and it is Bright. Thank You, Sundance 2026

It was such an honor and a privilege to attend the Sundance Film Festival this year! As its legacy in Park City, Utah comes to an end, you could truly feel the excitement for the festival's future and the early grief of it leaving its origin point.

Before this trip, we learned about indie film and what it means to the film world. Michael Newman's claim that indie film cannot be defined simply in economic, stylistic, or thematic terms, and needs to be understood culturally, was truly showcased at this year's festival. Each film was unique to itself, not being able to be grouped together with others based on those four attributes. Sundance in itself showcases these films with such honor and grace, allowing them to be fully enjoyed and watched to their full potential.

While there, I not only got closer to some of my classmates but also met some pretty awesome people. One of those people was a man named Noah, whom two of my classmates (Izzy and Jillian) and I talked to for some time. He shared his love for film and talked about some films he had seen and enjoyed. He ended up giving us his email to get a discount on that merch store, which was totally awesome! While talking with him, however, Chris Pine had walked right by us!

There were many pop-ups during the first weekend of the festival, one of those being the Little Miss Sunshine pop-up! This pop-up took place Friday-Sunday, where they had free merchandise, donuts, and hot chocolate! It was to celebrate the films 20 year anniversary of screening at Sundance. Unfortunately, they had run out of merchandise by the time I was able to go there, but I was informed that the merchandise is available online! The first time I watched Little Miss Sunshine was back at home (Long Island, New York) with my dad, where we still have cable. And only recently had found out it was shown at Sundance 20 years ago!

Out of all the films i had seen, heres my list (full feature and shorts) all together!

Tuner

Ha-chan, Shake Your Booty!

Living with a Visionary (Short)

La Tierra del Valor (Home of the Brave) (Short)

American Doctor

Sauna Sickness (Short)

Candy Bar (Short)

The Huntress

The Oracle (Short)

The Disciple

Pankaja (Short)

Ive already posted about my top films from the festival, but I'll give a short summary of my top three again!

Tuner follows a piano tuner, Niki, with an auditory sensitivity, who works with Harry, an old piano player who now tunes pianos. Innocently, Harry forgets the new combo he made for his safe, so Niki learns how to crack the safe with his sensitive hearing. With the new skill, he runs into a man who is the head of a group that breaks into rich homes that use their security system and steal valuable items "they won't notice are gone". It quickly turns from a story of a hard worker who wants to help his boss, to a story of being stuck in the wrong, dangerous group. This film was engaging for its entirety. I would pay to see this film all over again at Sundance if I could!

Ha-chan, Shake Your Booty follows Haru, a dancer who is dealing with the grief from losing her husband just minutes into the film. It truly captures the struggle of moving on and letting go. But it was a mix of all the best things to feel while watching a film. Happiness, sadness, laughter, and cringe. It was an extremely enjoyable film, and very pleasing to the Eye!

Living with a Visionary follows a husband and wife, while the wife has Parkinson's, and due to her medication, she has hallucinations. While the husband takes care of her, he is also trying to take care of himself. All leading up to the COVID-19 epidemic. With its unique animation style, it truly was so beautiful to watch. I, as well as the rest of the audience, was in tears by the film's end. It truly tugged at everyones heart strings.

My least favorite film, Pankaja, was enjoyable, but it honestly just wasn't my cup of tea, and it was a bit hard to follow. It follows a mother and daughter in India trying to find the missing husband. It was beautifully shot, but in my opinion, didn't capture fully what it wanted.

Throughout the festival, there were multiple talks and panels; unfortunately, a lot of them were 21+, while I'm only 20. (There were some open to all, but they did not fit in with my schedule) . However, I did stay at multiple Q&A's. It was truly amazing to hear all the directors, producers, and even some actors talk about the films! Those included: The Short Film Program 1, The Huntress, The Disciple, Ha-chan, Shake your booty! and American Doctor. It was awesome to see the makers of the films I had just watched quite literally in front of me. I got some pretty cool pictures of some of them as well!

Attending Sundance truly cemented my dream of going into the film industry. The people are passionate and amazing. Not one day is ever the same. My future in the industry is something I will strive for until I am satisfied. Maybe one day I'll even have a screening at Sundance. While making new connections, I also made the ones I had even stronger. Being at this festival with my classmates was honestly such a treat! With friends I've had since freshman year, to new ones, it's truly been such an amazing trip full of connections.

Its been such a privilege to be a part of the Eckerd College Sundance 2026 Winter Term. I will forever cherish this trip and be forever thankful for it.

Thanks for reading!

-Frankie Dennehy

[ecsundance]

Sundance, what an amazing time!

Sundance did not feel like just a film festival to me; it felt like stepping into the living culture of independent film. Before coming, I understood indie mostly through class concepts like realism, intimacy, and low-budget production. Michael Newman argues that independent film cannot be defined only by economics, style, or themes, but must be understood culturally, through festivals, audiences, critics, and shared experiences. Being at Sundance made that idea finally click. Indie film is not only what happens on screen, but what happens in lines, in conversations with strangers, in Q&As, and in the shared emotional energy of people who deeply care about storytelling. Sundance made indie films feel less like a category and more like a community.

From the start, the atmosphere felt different from a normal movie experience. Waiting in line and talking to people about what they had seen, what was good, and what was creating buzz made film watching feel collaborative instead of passive. These conversations were not just small talk; they were how indie culture spreads and grows. Films at Sundance live through discussion, reputation, and emotional impact. This showed me exactly what Newman means when he says indie film is sustained by cultural institutions and audiences. I was not just watching independent films, I was participating in the culture that defines them.

The Q&As were one of the most powerful parts. Hearing directors talk honestly about their intentions, struggles, and personal connections made the films feel more intimate and human. These were not polished marketing speeches, but real reflections on creative risk, funding, and emotional vulnerability. It reinforced that indie films are shaped by people with specific visions who rely on festivals like Sundance to bring their stories into the world.

The emotional energy in the theaters also changed how the films felt. Every screening felt important. Some films were heavy, some quiet, some overwhelming, but all demanded attention. This helped me understand indie realism more deeply. It is not just a style, but an invitation for audiences to sit with discomfort, intimacy, and truth.

Before Sundance, I understood Newman’s argument intellectually. After Sundance, I understood it emotionally. Independent film is an ecosystem built through festivals, lines, conversations, Q&As, and shared vulnerability. It is something you experience socially, not just analyze academically.

I saw nine films in person and will be watching one online, and overall my favorite was Leviticus. I loved it so much because it kept me on the edge of my seat the entire time. It had so many unexpected twists that you don’t usually see in horror films, which made it feel fresh and intense. The emotions felt raw and powerful, and the suspense never dropped. It was exciting, unpredictable, and one of those movies that completely pulls you in and doesn’t let go.

My second favorite was Silenced, a documentary about the #MeToo movement. It was incredibly powerful and deeply upsetting. The way it included so many different stories made it impossible to look away, and it made me want to learn more about the people involved. Watching people experience sexism and feel like they had no voice filled me with anger, but that reaction showed how important and impactful the film was. It was uncomfortable, emotional, and necessary.

My third favorite was Burn, which focused on Tokyo street kids. This movie was intense and heartbreaking. It makes you angry at the world to see what these kids are forced to go through and how survival is their only option. The film felt raw and honest, and it stayed with me long after it ended. It was emotional, powerful, and unforgettable.

My fourth favorite was Cookie Queens. It followed young girls in the Girl Scouts and their families and showed how much work, dedication, and commitment goes into it. I loved how it balanced the challenges with the joy and humor of the experience. It was cute, heartwarming, and funny at times, while also showing the real effort behind something that often seems simple from the outside.

My fifth favorite was American Pachuco. It was a beautiful and inspiring documentary about what it means to be both American and a Pachuco. I loved learning about Luis Valdez and how he used theater and film to represent Pachucos and bring visibility to their culture. It felt empowering and meaningful, and I thought it was done with so much care and respect.

My sixth favorite was American Doctor, which followed three doctors—one Palestinian, one Israeli, and one American—who travel to Gaza to help in hospitals. It was an important film because it showed the conflict through a medical and humanitarian lens rather than a political one. I did feel the film was biased, and as an American Jew, it was difficult for me to watch at times. Still, I appreciated the perspective it offered and found it powerful and emotionally moving.

My seventh favorite was Everybody to Kenmure Street. I really enjoyed its message of community and solidarity. Watching people come together to support one another was beautiful and inspiring. I did feel that it started off slowly and could have been shorter, but the heart of the film was strong and meaningful, which made it worth watching.

My eighth favorite was The Huntress. It was a strong fiction film that kept me engaged and on edge throughout. I was fully invested in the story, but I was left with a lot of unanswered questions. The ending felt unclear, and I wished it had been more resolved. Even so, the tension and storytelling were compelling.

My last movie was The Disciple. While it was cool to see Wu-Tang Clan members and familiar artists on the big screen, I didn’t connect with it as much overall. The pacing felt slow, and I thought many parts could have been cut. With tighter editing and structure, it could become a much stronger and more engaging documentary.

Overall, I had an amazing time at Sundance and it was so cool to be there for the last time it will be in Park City. 

- Shira Mayer

[ecsundance]

A bittersweet ending to the Sundance Saga

Sundance has come to an end for our class; we walked, wept, and waitlisted. 

Before we left for Sundance, we took 2 weeks to understand what an indie film is and how to understand it culturally. I found that indie film is an oppositional form of filmmaking, rooted in contrast to the mainstream. After attending the festival, I can say that the opposition is not only found in the films but in the people. I met a sound designer named Ben, and we discussed how to get into the industry, and he told me to just ignore everyone else and post a movie, make the short you’ve been thinking about, because none of us need “permission” to create. So many people at Sundance said that the most important thing about filmmaking is that we should do what we want without worrying about what will get clicks, because you will find your audience. 

This festival was full of the push to create without limits. The director for TheyDream, William D. Caballero, discussed during a fireside chat, associated with the Latino Filmmakers Network, that his professor at Pratt University read his proposal for a film about his family and told him something along the lines of “No one wants to see a film about your family, it's just not interesting.” He explained that after hearing this, he couldn't decide whether he wanted to do what his teacher told him to or stand up for himself and his family. He decided to stand up for himself, and his professor said she would have to give him a bad grade. He took the bad grade. Years later, here he is sitting at Sundance 2026 watching the film about his family receive a standing ovation. 

This story is an amazing example of how defiance can create inspiring works of art. He had the choice to follow the mainstream and get a good grade, but instead, he opposed it and made a film he was passionate about and proud of. 

Another film and Q & A that displayed the indie culture to me was Silenced, written and directed by Selina Miles. It is a film about the #MeToo movement and the women who are often suppressed and taught not to speak out. This film was a bold film that attacked Hollywood and discussed prolific cases from the side of the woman. This is something that is not done often with films, and it is something that isnt appreciated within the mainstream. Hollywood doesn't want people to be discussing Harvey Weinstein or the Heard v. Depp case, but this film not only did it, they amplified the voices that were pushed down. Many women took a risk to relive their trauma and put it in front of such a large audience to be scrutinized. It's both powerful and oppositional, this film quite literally doesn't do what theyre told, they won't stay silent, and they will continue to be loud. 

Choosing my favorite film from Sundance is going to be an immense challenge. I saw 9 films total. I enjoyed them all, I rarely left the theater dissappointed and I raved about the films I saw to a ton of people. 

But unfortunately, everyone has favorites, and mine is, drumroll please… 🥁

Leviticus!! This film was an amazing horror movie with gore and heart. We spoke to a friend of the director, and we learned how this film was his passion project for so long. He was able to take the experience of being outed and turned it into a film about sticking together. It demonstrated how homophobia is made to pit the community against itself. The performances were amazing, and the practical effects made the film feel immersive. This film has lingered in my mind since I saw it. Update: It was the first sale of Sundance!!

I also have a least favorite, this is not to say it was ‘bad’, I think it could use some editing to trim some parts that make the film feel slow. 

My least favorite was… 

The Disciple. The movie started very quickly and engagingly, but by the end, it felt very slow. I found the film to lack focus as well. It begins with this interesting story about CilvaRingz and how he worked to become a disciple of the Wu Tang Clan. It then shifts to a story about the elusive album titled Once Upon a Time in Shaolin. Both stories are very interesting, but they did not need to be in one movie. However, the interviews were charismatic and opened my eyes to the behind-the-scenes of the Wu Tang Clan. 

As I said, I saw 9 movies. I was able to get tickets for almost everything I wanted to see; most films I missed are already in talks for distribution. For that reason, I did not waitlist to see any films. I was lucky enough to have tickets to everything I was interested in. 

Thursday: 

American Pachucho: The Legend of Luis Valdez

The Huntress (La Cazzadora)

Ha-Chan: Shake Your Booty

The Disciple 

Friday:

TheyDream

Leviticus

Saturday: 

Silenced

Sunday:

Cookie Queens

BURN

All of these films were amazing. BURN and Cookie Queens definitely exceeded my expectations. Both of which I would do anything to re-watch!

I was able to go to the Latino Filmmakers Network fireside chat, and I met many amazing people: Ben, Jorge, Eileen, and Celene Beth. The speakers on the panel/podcast were Giovanni Lopez (Professor Corrao’s friend), William D. Caballero, and Andrew Smith. It was hosted and recorded by the hosts of the LatinXorsists. It was such a great time being surrounded by so many Latin filmmakers who want to see students succeed. They gave me so much advice that I will be taking with me as I continue my pursuit of a film career. My friend Davis and I attended together, and we shared many laughs with Jorge, and Davis talked to Celene, who advocates for mental health on sets. She could not believe the emotional intelligence he had at such a young age. It was hilarious when I told them I was Dominican, so many inside jokes were shared, and we spoke about how the lentil soup reminded me of sancocho. By the end of that night, we all exchanged Instagrams and left with this new community. 

I also attended the Little Miss Sunshine pop-up, which wasn't a panel, but it was an interesting story. I went twice in one day because I hadn't had the time to visit it before Sunday. I saw they were giving away a mini replica of the famous yellow van, and my nephew’s 3rd birthday just occurred; he loves Hot Wheels, so I  knew that was the perfect souvenir for him. I went through the first time to grab a shirt, and I asked the volunteer if I could go through another time. He said no because it's only once per day. I took this as a challenge, sort of. I left for about an hour and came back. I spoke to both of the volunteers, asking if my method was going to work. I was terrified this guy would recognize me because with a blonde afro its hard to blend in. I went up to a different girl who was flustered and couldn't remember what merchandise they had, so I interjected and asked her for the car. She just handed it to me, probably glad she didnt have to check what they had. So I got the car, and met 2 really cool volunteers. 

This is the last Sundance in Utah; it's moving to Colorado next year. We spoke to Barbara Bretz on the first day of our trip during our scavenger hunt. We asked her what she thought about this being the last Sundance in Park City. She called the last Sundance a “bittersweet celebration,” celebrating Robert Redford and mourning the loss of Sundance for Utah. I experienced this bittersweet celebration, native Utahns discussing how they're going to miss Sundance, people going for the first time just because it's moving, and everyone trying to make the most of it. I spent this time with so many emotions, from crying in films to laughing out loud in line. 

Leaving Sundance was hard, I would never trade that experience for anything, but I wish it didnt have to end. 

Thanks for reading. This is me signing off! 

I leave you with what Luis Valdez said, “We must create to banish the darkness.” 

- CJ

[ecsundance]

さようなら、サンダンスちゃん! (Goodbye, Sundance-chan!)

It’s so bizarre to be leaving the festival after such an action packed weekend. From celebrity sightings to industry conversations with filmmakers both in and not in the festival, I have travelled a lot over the last four days. It is clear to see Newman’s claim that indie film needs to be understood culturally. As the filmmakers and attendees all understand that people are there not only for the love of film, but the love of storytelling and community. Almost everyone is open to speaking with one another and discussing the program or other films. Connections are made and information is freely (if legally allowed) shared about the workings of the industry and the indie scene.

The most independent-feeling film that I saw at the festival was definitely Bedford Park (Stephanie Ahn, 2026). The film’s characters are emblems of a culture that is fighting not only to stay alive, but to evolve. The form becomes a game, as we go from having in depth conversations to silent character moments that allow us to live in the moment. The ending of the film as well does not give us clear resolutions or the ‘get together’ moment that most Hollywood films would have.

I went to three panels, with the first two being at the Box at the Ray and the Dropbox Studio. These talks were informative and inspirational as I was able to speak with the people on the panels and hear their experiences and advice for people trying to get in the industry.

I would have to say my 3 favorite films were BURN (Makoto Nagahisa, 2026), Bedford Park, and Ha-Chan, Shake Your Booty! (2026). The first is such an interesting experience, with unique visuals, a compelling and intricate story that shows you the cutthroat and unforgiving nature of living on the streets in Kabukicho. I was able to speak with the director afterward in Japanese as I complimented his film and told him how I respect his work as a filmmaker. The second being an emotional and very human look on companionship, generational trauma, and family/societal expectations that are imposed on immigrant families and their children. I was able to speak with her at not only the panel for the messy middle, but after her film screened, and in doing so I got to pick her brain about her process as an editor-turned director. Her career history and her film have been able to give me such inspiration for my stories and art. The final is a hope-driven drama about loss, grief, and finding one’s place in the world amidst overwhelming sadness.

Above: me with

My least favorite film from the festival was probably The Disciple (2026). Although it was interesting and the connections among the Wu-Tang Clan and its manny apprentices was prime material for a documentary; however, I feel that the film struggled to keep my attention in the latter half and it became more of a crawl to the end credits than a journey that kept me captivated through and through.

The last full day we were going to be in Park City, I spontaneously tagged along with my good friend CJ. We went to the Latino Filmmakers Network Fireside Chat and got to talk to a lot of interesting people. I learned about a woman who is trying to advocate for a Mental Health Coordinator, and we had a wonderful discussion about how actors’ and storytellers’ mental health is very important, especially when writing or filming scenes that put our minds in panic mode. I think this is so important because we don't want to stress ourselves too much and overload our brains with negative emotions. After this, the panel started and we listened to three men in the industry who are hispanic as they spoke on their experiences both with their identity and with an industry that otherwise wanted to not represent them at all. This was such an unique experience as I not only got to hear their view of both art and business in film, but I was openly accepted into the conversation despite my background not being directly connected with theirs. Their hospitality and kindness will give me more resolve and hope for the future of film as an art and as a business. 

Overall, this festival has been filled with both inspiration, motivation, and hope for the state of cinema and independent cinema. Talking with festival goers and volunteers in line felt surreal, as everyone was there to support the art of filmmaking and to hear those marginalized voices that indie culture gives a platform for. Speaking with the filmmakers themselves was also fascinating, as hearing their process for their films and their future plans or hopes helped me understand just the wide variety of production schedules that these films have. Nothing is uniform and the best film you see may have been in production for 7 years, but only shot for 25 days. Finally, being here with my class of film students and film lovers was so informative to how I spent my time at the festival and they pushed me to talk to people I would be far too scared to if I was alone.

-Davis Brooks

[ecsundance]

Wow! What a time...

So, the last day of Sundance. I am really going to miss it! 

Since I last posted, I have seen 5 movies: TheyDream, Leviticus, Silenced, and Cookie Queens. I had a great time seeing all of them! 

My big news today is that I saw Dave Franco!! He was just walking by me, but I noticed him and told him I loved his movies. He did not seem super fond of being recognized, but I will never know. I also got an autograph from Edward James Olmos because he was a producer for TheyDream! 

Here are my reviews for the films I have seen: 

TheyDream - This is a heartfelt film about loving and losing. William David Caballero revives his family members through rotoscoping and miniature sets. He and his mom work through guilt, sadness, and confusion as they recreate moments with their loved ones. The film is transparent and shows a lot behind the scenes, making the creation of this film an engaging part of the story. It made the whole theater cry, so grab tissues!

Leviticus - This is a film about two gay young men who are found out by their families in a religious town and they get sent to a healer who puts a curse on them that they can't escape alone. Joe Bird and Stacy Clausen gave amazing performances; they are vulnerable and emotional. The editing and sound design make sure the audience feels as if theyre experiencing the curse with them. I really enjoyed this film. I really hope it gets picked up because I would watch this so many more times. 

Silenced - This film was about the #MeToo movement, and they take the time to discuss the Johnny Depp v. The Sun newspaper and many sexual assault cases. They discuss how people choose not to believe women and how important it is that we start to believe and listen to women when they speak out. They detailed many organizations that are dedicated to helping women. This was a very powerful movie, and it made me cry. It was amazing to see how this film tells these stories and gives women a voice. 

Cookie Queens - Wow!! This film was so adorable, but it was not only adorable, it was empowering. Watching these young girls get so involved in something that they love and trying to reach goals while living their childhood. It was hard to watch the parents struggle with seeing their kids try so hard, they seemed so upset about having to see their kids push themselves. It was a feel-good tearjerker!

I spent Saturday night on Main Street, we ate at Flanagans, and it was awesome! Super tasty, and an amazing environment. Then on Sunday, I went to the Little Miss Sunshine pop-up twice, and I got a shirt for myself and a car for my 3-year old nephew. I dragged IK along to the merch store and the 7-11 to get some Park City souvenirs and then we ended up at the filmmaker lodge, where we saw Professor Corrao and his friend Giovanni. We discussed film insurance and how interesting it is. Then Davis and I attended a Latin Network fireside chat, where we spoke to so many interesting people and listened to an interesting podcast.

Sundance part 2 has been so amazing, I have met so many interesting and funny people that I dont think I will ever forget. 

Thanks for reading!

- CJ

[ecsundance]

Will I have to waitlist into the afterlife?

Sundance is the most exciting, exhausting, flabbergasting, and frustrating place I have ever been. The waitlist line has been the most humbling and (sometimes) rewarding experience. In the waitlist line, I've met: a producer of Cookie Queens, an Oscar-winning documentary director, filmgoers who met Olivia Colman, and Ethan Hawke.

Sundance is FULL of lines. It doesn't matter if you're going to the bathroom, getting coffee, waiting for the bus, or trying to get into a movie. Like a fellow freezing line waiter said when Ashley and I couldn't get into the Chloé Zhao workshop, Sundance lines are a "breathing excercise of their own." Plus you never know who you're going to meet: the filmmakers of Silenced, the directors of Ha-chan, Shake Your Booty! and The Shitheads, someone who has an in with the crew of Burn, or Ken Jeong.

Speaking of waitlists, my first success was the world premiere of I Want Your Sex, which was... wild.

I Want Your Sex, lucky number 131 at Eccles

Gregg Araki’s kinky (and a bit freaky) feature “I Want Your Sex” had its world premiere on Friday in Park City with a star-studded cast to a sold-out audience.

Cooper Hoffman and Olivia Wilde appear in I Want Your Sex by Gregg Araki, an official selection of the 2026 Sundance Film Festival. Courtesy of Sundance Institute | photo by Lacey Terrell.

From its bold, neon begging to its comically corny ending, “I Want Your Sex” marches the fine line between art and pornography, shaming and celebrating sex at the same time. It feels like being stuck in a sex store for an hour and a half. As a European visitor says in the film, American sex is removed of all sensuality and eroticism, making it a performance, desperate and almost embarrassing. The pendulum swings the American way the entire film. 

Cooper Hoffman plays Elliot, a laughably naive gallery employee who gets roped into a semi-concentual (maybe groomed) sexual relationship with his boss, the bold artist Erika Tracy, played by a fearless Olivia Wilde. Erika is very concerned about Gen Z’s retro sex negativity, which leads her to Elliot. 

Elliot, with his perpetually messy hair, childlike smile and unfamiliarity to cigarettes, has bit off more than he can chew… with no safe word. In an attempt to medicate his sexual frustration from his girlfriend Minerva (Charli XCX) — who clearly feels no attraction to him — things quickly go south.

Alongside Wilde and Hoffman, Johnny Knoxville, Daveed Diggs, Chase Sui Wonders and Mason Gooding add flavor to the cast.

The film starts off with panic, blood, drowning and a police investigation that weaves itself through the account of events Elliot is telling. The questioning room is mellow, gray, and underscored by the constant humming of the fluorescent light above them, which juxtaposes well with the vibrant chaos of the world of the main story. The jokes are wild, almost not PC, and the coloration, characterization and set design is unceasingly gay.

Erika, being in therapy since six, is well aware that she toys with people’s emotions because she’s looking for a sense of identity and control. She’s a curator of personalities, yet she has no friends that would have called 911 for her. It becomes quite clear that her colorful life is actually quite boring and sad. 

Elliot can’t seem to get the relationship he wants. A self-proclaimed innocent “bellhop type,” he can’t help but fall in love, pathetic as it is, and he clings on to any attention he can get. Yet, when it actually matters, he has to beg for people to see how screwed up the world can be. 

“I Want Your Sex,” is bold, electric, and unapologetically unserious. The ending takes you on a wild ride with a surprisingly sugary sweet conclusion where our leading man literally sees the light at the end of the tunnel. 

For those who like it raunchy, “I Want Your Sex” is a loud film about the lie of art and sex, and it proposes the idea that, to break through the noise, you have to make a commotion. Then, you can make whatever art you want. Perhaps Araki is doing just that.

Always waiting and watching,

Nicole Vogler

[ecsundance]

A rollercoaster of a day!

I started off my morning bright and early to rush to a talk with my favorite director right now, Chloe Zhao. We leave at 7:30, thinking surely an hour early is perfect! Alas, we could not have been more wrong. There were 200 people already there. The people in the front of the line had been there since 6:30, the dedication man! Safe to say I was incredibly bummed, especially because I had rsvp’d almost three weeks before this. But on the bright side, we met some very kind people, and one woman recommended we see The Friend’s House is Here, directed by Hossein Keshavarz and Maryam Ataei, and we put that in our back pocket.

After the disappointment, we decided to pivot and head over to Main Street to try to turn the morning around. We grabbed some cappuccinos and headed over to the Adobe house, where there was a panel for the next-gen filmmakers. The incredible people on the panel were Stephanie Ahn, the writer and director of Bedford Park (whom I actually met yesterday, and it was such a surprise to get to see her again!), Daniel Chavez, the editor of American Pachuco, Giselle Bonilla, the director of The Musical, and Anooya Swamy the director of Pankaja. This completely lifted my mood and left me incredibly inspired. Some moments in particular that really stuck with me were one thing that Daniel said, that art has the ability to change minds, and with the films I have seen, I completely agree. This is what makes art and film so powerful and important. It is the vessel for peoples real life stories to be told. To place things in people's view that they would be blind to otherwise. And from Stephanie Ahn, that film was my first language, and I wanted to learn to communicate back. This was such a beautiful way to express her love for film and writing, and the need to express yourself in the language you love. Especially if you grew up and understood the world through film, it is the way you need to the world to understand you by.

After that incredible panel, I got to get a free beanie and choose a patch to put on it, and I chose the Premier Pro logo. After departing the Adobe house, we made our way over to the merch store, finally! I spent a wee too much on merch, but I can’t wait to rock my new stuff while filming and editing projects! At this point, my stomach was absolutely grumbling, so we headed back towards the Resdstone theater and found a Thai restaurant that turned out to be so delicious. I got avocado spring rolls that I will be thinking about for weeks, so delicious! While eating, we tried our hand at wait-listing for the movie the women in line this morning recommended, The Friend’s House is Here, and we got number 4, so the odds were good. To kill some time before lining up, we walked over to Barnes and Noble and wandered around until it was time to go to the megaplex.

This film may take the cake for the best thing I have seen at Sundance. It felt like the epitome of independent film and the first I have seen this weekend that really embodied what indie film needs. It was filmed in Iran, illegally, and had to be smuggled out when communication was cut off there last year. It was a story about finding community and relying on the people around you in times of war and despair. Using art to express fear, when that art could get the characters caught and put in jail. It is an incredible story driven by the characters and their lives, and a story I think everyone should experience and see. We even spoke to the directors after, and they were so kind, passionate, and thankful they got to show this story.

Right after this film, we went to the film Burn, directed by Makoto Nagahisa, a story I am still trying to process. All I can say right now is it was incredible and engaging, and told the story of the children living on the streets in Tokyo and somehow blended real life with imagination. After we were lucky enough to see one of our new friends from the cold line in the morning, and with him was the director's agent. We also met one of the producers who asked us to film a little video for the director, sharing our thoughts! To end this amazing interaction, as we are saying goodbye, Ken Jeong walks right past us. We were in shock and just finished our goodbyes and walked out, and proceeded to burst into laughter from shock. He was right there! The Ken Jeong! Still in disbelief. 

Safe to say, I couldn’t have asked for a better last day!

-Ashley Armstrong

[ecsundance]

Sundance: The Madness Continues

Our 2026 adventure at the Sundance SFilm Festival’s second half has proved to be even more crazy and out of control than the last! WE got up to so many fun things, new highs and lows were reached, and being on the other end I feel very appreciative of all of it. Lets see how Saturday and Sunday at Sundance opening weekend lived up to its horror stories of big crowds and long wait times.

Saturday began with a double let down. I was unable to get a good placement on the waitlist for Gregg Araki’s new film “I Want Your Sex”, due to a network glitch 2 minutes before the films waitlist opened that caused the entire Sundance server to crash for all users. This loss was followed up by once again failing to waitlist the Eccles Theater for “Wicker”. At this point in the festival, I felt like the odds weren't in my favor whatsoever. I decided to play it safe late night Saturday and go see “Mum, I’m Alien Pregnant”, the film was described before the screening began as “The stickiest movie at Sundance” I think that’s a fair assessment of this film. This film is a bizarre and gooey and goopy erotic reimagining of the birthing process, that while dragging a bit at times and lacking a bit in the pacing department, still held up pretty well. I particularly thought the editing and sound design were the most impressive parts of this film.

Sunday did end up better for me overall though, to pick up the slack of only seeing four films in three days, I decided to watch four films on JUST Sunday. This started off with an early screening of “Cookie Queens”, this film was something I wasn't expecting at all, I actually really enjoyed this film. I found it to be a really precious and sweet look into a select group of little girl’s worlds, and the highs and lows that come with selling girls scout cookies. By far the most uplifting and joyous premier I’ve been to this fest, so amazing to see these little girls get this much love from such a loud room of supporters. Also very cool to see Prince Harry and Megan Markle introduce the film, since they produced it. YES I cried, their parents must be so proud of these little girls. Went straight into Kikuyu Land after this. It was a very heavy and eye opening piece of journalism that exposed the deep rooted corruption, injustice, and modern day slavery in Kenya’s government and agriculture. This movie is very moving, and is excellently shot, my only issue is that I think the film could have been a little tighter and had a little more bite on the post production end, this issue is primarily within its first half, the second half of the film's edit is much more successful and impactful. And then by 3pm I was already into my third screening of “Jaripeo”. I think this one was a little too woozy for me. This film is essentially a nearly plotless dream sequence type film that explores the hidden queer scene in Mexico’s rodeos. It was a very pretty movie with a great score. I just maybe would have liked the plot to be more substantial. Seems like a movie the directors made FOR THEMSELVES ONLY and I wish I’d been let in by them a little more.

Lastly I saw “BURN” with most of the rest of the class. A highlight of the day,and can I just say, WHAT A WAY TO END IT this film was  totally insane visually breathtaking movie that was just bursting with personality the whole way through, the creativity was really out of this world …. This one is gonna go really big places. Overall, I feel so grateful to attend this legendary cultural event in the world of film before it left Park City, and I can only hope to go again some day. Its been fun! -August Lambrecht