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Sundance measures humanity's depths in a toxic world - Artforum International

“WOW NANNY,” I texted to one of my Sundance critic pals—she on the West Coast, me on the East—after I had viewed Nikyatu Jusu’s debut feature, which a few days later won the grand prize in the festival’s US Dramatic competition. Except for a few screenings in seven “Satellite” locations across the US, the 2022 Sundance Film Festival was entirely virtual. Given that the decision to put everything online was made only two weeks before the January 20 opening date, it was amazing how...
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Amy Taubin on the 2021 Sundance Film Festival - Artforum International

Ana Katz, The Dog Who Wouldn’t Be Quiet, 2021, DCP, black-and-white, sound, 73 minutes. THE PRIZES WERE AWARDED a month ago, some very big deals have closed in recent weeks, and the Sundance Film Festival has closed its streaming platform, hopefully never to be used again—at least not as the primary means of connecting Sundance’s chosen movies to Sundance audiences. Having covered the festival for thirty-two years, the place—Park City, Utah—and my ten-day routine there is stamped int...
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'El Planeta': Film Review | Sundance 2021 | Hollywood Reporter

From left: Ale and Amalia Ulman in El Planeta Bittersweet n low. TWITTER Amalia Ulmans droll first feature stars the writer-director opposite her real-life mother as an impoverished pair shrugging off destitution in a post-financial crisis town on the Spanish coast. Multidisciplinary artist Amalia Ulman makes an appealingly idiosyncratic first foray into features with El Planeta, a captivating throwback to the shaggy aesthetic of micro-budget 90s New York indies that plays like Grey Gardens w...
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'Pleasure': Film Review | Sundance 2021 | Hollywood Reporter

Walks a wobbly fine line. TWITTER Sofia Kappel stars as a young Swedish woman keen to break into the adult film industry in L.A. in Ninja Thybergs feature debut. A young woman arrives from a distant land in the capital of a certain entertainment industry and ascends the ladder of success, only to lose a bit of her soul on each rung of the climb. That, of course, is the plot of Showgirls, but its not like Paul Verhoeven, or anyone whos written a version of Faust, ever patented the concept. Thi...
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