What is illustrious Arrested Development alum Michael Cera doing on a Chilean beach, tripping on hallucinogenic cactus juice with a band of South American brothers while a blithely nekkid Gaby Hoffmann cavorts nearby? Beats me, but I’m glad he’s there. Crystal Fairy — the title refers to the name preferred by Hoffmann’s New Age-y character — tastes a little of Y tu mamá tambien, with its sandy ramble of an outing. (That in itself is a good thing.) But the flashes of absurdist humor, druggy space-time perceptions, and low-keyed empathy are the bright work of New York-based Chilean filmmaker Sebastián Silva. (Seek out his 2009 Sundance award-winner The Maid – so good.) It’s no accident that Cera’s character, a cloddish, insensitive American guy out for an exotic (and low-budget) South American Adventure, keeps referring to The Doors of Perception, Aldous Huxley’s account of his own drug-induced revelations that inspired generations of college-age seekers to turn on and tune in. Crystal Fairy is shot through with sharp, fleeting insights about beauty, spontaneity, and the human hunger to connect. Plus, at the old-man age of 24, Cera has honed his expressive deadpan — shading from incredulity to aggression to bewilderment and back to comedic — to even more mature advantage, and the director recognizes the extra laughs of putting such a grating gringo in among gentler Spanish-speaking locals. Hoffmann, meanwhile, wanders around in the altogether with phenomenal hippie aplomb.
Tag: Sundance Film Festival (81-90 of 353)
On Saturday night, the horror anthology sequel S-VHS will premiere at Park City’s Library Center Theatre just a few months after Magnolia Pictures’ genre arm Magnet released its predecessor, the also Sundance-screened V/H/S. Remarkably, Brad Miska, one of the producers of the found footage series, says the second movie could have debuted even sooner. “We had internally joked about how hilarious it would be to actually have S-VHS premiere at the Toronto Film Festival before the first one came out,” laughs Miska, a cofounder of the horror website Bloody Disgusting. “But we thought that would be incredibly disrespectful to Magnolia, so we didn’t do that.”
We haven’t seen much of the new movie The Necessary Death of Charlie Countryman, which premieres at Sundance this week — not even the trailer is out. But we do know that it takes place in Romania and tells the story of a young man (Charlie Countryman, played by Shia LaBeouf), who falls for a Romanian girl (played by Evan Rachel Wood). The girl, however, is already spoken for by a vicious Romanian mob boss, hence the title’s prophecy. Check out a gruesome photo of LaBeouf from the film, below.
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In the Day 1 press conference to open the 2013 Sundance Film Festival, Robert Redford struck back at a conservative Utah group that suggested last week that the state should reconsider its funding of Sundance because the festival’s liberal leanings did not reflect the state’s values. “Sometimes the narrowest mind barks the loudest, and we’ve over time come to ignore it,” said Redford, who also reminded Utahans of the $80 million the festival attracts each year to the local economy. “We’re also offering a wide spectrum of choices. It’s up to the audience to choose … So I would just say to these people — we either ignore them or remind them that it’s a free country and maybe they should look at the Constitution.” READ FULL STORY
Sundance 2013: See 'Sons of Anarchy' star Maggie Siff in intimate indie 'Concussion' -- EXCLUSIVE CLIP
Congratulations, Concussion — you may have the Sundanciest plot summary in the history of Sundance.
To wit: “Abby is a fortysomething, wealthy, married, lesbian housewife who — after getting smacked in the head by her son’s baseball — walks around every corner of her suburban life to confront a mounting desire for something else. She takes on a new project and purchases a pied-à-terre in Manhattan. Walking around the city streets reminds Abby what it feels like to be sexy, and her pent-up libido shakes off its inhibitions. Her desire is not a take-home item for the minivan ride back home, so Abby inaugurates a double life that draws her deeply into a world of prostitution for women.”
Sundance 2013: 'Stake Land' director Jim Mickle talks about his new horror film, 'We Are What We Are'
merged genre filmmaking with the intensely emotional. I was like, ‘Ah, s—, I wish I’d made that kind of movie.’”
There will be plenty of huge Hollywood celebrities at this year’s Sundance Film Festival, which starts today in Park City, Utah, but inevitably, the biggest star of the festival will be someone you probably don’t know yet. Every January, an artist — typically a young filmmaker — comes to Park City with a story to tell (and sell) and emerges as the Next Big Thing. It started with Steven Soderbergh when sex, lies, and videotape opened everyone’s eyes near the dawn of the independent renaissance in 1989, and it became an annual tradition as the likes of Quentin Tarantino, Kevin Smith, and David O. Russell were discovered by Hollywood. Last year, director Benh Zeitlin became an overnight sensation when Beasts of the Southern Wild became a Sundance smash, and the buzz hasn’t worn off — last week, his movie received four Oscar nominations, including one for Best Director.
But the most famous of rags to riches Sundance fairy tales remains Ed Burns, who was a lowly production assistant at Entertainment Tonight when a chance encounter with Robert Redford helped get The Brothers McMullen into the festival. His charming drama, which told the story of three Long Island brothers wrestling with life-altering decisions, featured a no-name cast (that included Connie Britton), but that didn’t matter to the smitten Sundance jury that awarded it the Grand Jury Prize.
Burns, who returns to Sundance this year as a member of the U.S. Dramatic Jury, looks back on his incredible first Park City experience, which still serves an inspiration — and sound advice — for filmmakers whose lives are about to change.
There were so many lucky, little breaks that needed to fall into place for McMullen to happen. I made the film when I was 25, when I was working as a production assistant on Entertainment Tonight. And during that year, I sent a rough-cut VHS copy of the film to every producer, agent, distribution company, and film festival, and we were rejected by every single one of them. I maxed out the credit cards, in debt, basically convinced that nothing would ever happen with McMullen given the stack of rejection letters. But I knew Sundance was the big one and I had my application. I forget what the fee was at the time but it was more money than I could really afford. But I thought, “You know what? It is Sundance , so why not just fill out the application and go for it.” So we submit the film… and we hear nothing. READ FULL STORY
In Magic Magic, Juno Temple and Emily Browning play best friends whose rendezvous in the Chilean countryside with some boys takes a turn for the worse when Temple’s Alicia is plagued by insomnia. Chilean writer-director Sebastián Silva has teased that it’s a disturbing psychological thriller that is meant to confuse the audience, so it’s a perfect movie for the Park City at Midnight slate at the Sundance Film, Festival, which begins today.
For Temple, who has three films at this year’s festival, playing unbalanced, unpredictable women is becoming something of a hobby. Her father, Julien, is an accomplished director who filmed the Sex Pistols, and some of that wild punk DNA seemingly was passed on to Juno. She got her first big role in Notes on a Scandal, playing Cate Blanchett’s rebellious daughter, and she’s never flinched from the unflinching, starring in films like last year’s NC-17 rated Killer Joe, opposite Matthew McConaughey. Her choices are bold and she never seems to take the same role twice. Magic Magic promises to keep both of those trends going.
ENTERTAINMENT WEEKLY: You co-star with Michael Cera in Magic Magic, but it doesn’t seem like the sequel to Year One I was expecting.
JUNO TEMPLE: No, we actually had a lot of fun with that. We were like, “Ummmm, no, definitely not a sequel to Year One.” READ FULL STORY
For parents of young children, it can be so hard to find good help these days. Take Josh Radnor and Kathryn Hahn in the Sundance entry Afternoon Delight, for example. They play a successful, open-minded L.A. couple, but they tempt fate when they decide to hire a stripper (Juno Temple) named McKenna to be their nanny. Well, stripper is a harsh term. Prostitute? That’s hardly better. Help us out here, McKenna. “Full-service sex worker,” she says in an exclusive video clip below. That about covers it.
“It’s not like McKenna is a tragedy,” says Temple, who researched the role the only way one can, by befriending a real-life professional from that world. “My character is not a woman who’s torn apart by her situation; she enjoys what she’s doing.”
Written and directed by Jill Soloway (The United States of Tara) and co-starring Jane Lynch and Annie Mumolo (Bridesmaids), Afternoon Delight has fun with some serious sexy scenarios. “It’s such a movie about women — different stages of women — with a younger girl and a slightly older women admiring things about each other and learning from each other,” says Temple. “But also ultimately kind of destroying each other.”
Click below for an exclusive clip from the film and then meet Soloway in a special Sundance video. READ FULL STORY
A role that caused a lot of drama during the making of Lovelace has turned out not to be necessary for the drama onscreen.
Last year, Sarah Jessica Parker was a last-minute addition to the film, which features Amanda Seyfried in the life story of the woman who starred in the 1972 X-rated movie Deep Throat. The Sex and the City actress was an emergency fill-in for Demi Moore, who dropped out of the movie in the middle of production after she suffered unspecified health problems and was hospitalized.
The casting crisis was averted, but with the film now just days away from its debut at the Sundance Film Festival, directors Rob Epstein and Jeffrey Friedman have told EW that it turned out they didn’t need the character after all.
Parker, who played the role of feminist icon Gloria Steinem, has joined a long list of actors left on the cutting room floor.
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