Sundance Still Spells Innovative

If it’s January, it must be Sundance. PAUL FISCHER taps into the indie spirit in Park City, Utah

SUNDANCE FILM FESTIVAL: OPENING NIGHT

One can tell that the Sundance Film Festival, now in its fifteenth year, is upon us, when even in the Los Angeles airport, would-be filmmakers accost this unsuspecting journalist. Ah yes, if it’s January, welcome to Sundance 2002.

It’s the first festival of the year and one of the major North American film festivals. The snowy mountainous slopes welcome one to this wintry wonderland, where skiers descend en masse crashing headlong into the world of dealmakers, filmmakers, cell phones and a plethora of stars, both big and almost big.

Sundance is synonymous with independent film, although what is independent these days remains a question of debate. One’s first day at Sundance is best described as a case of organised chaos.

You check into the crowded Press Office, collect the first of many bags of surprises, then ‘do the PR rounds’ with as much grace as you can muster. This year, this meet-and-greet ritual runs smoother than usual. Politeness all round, interviews and mini-press junkets are locked in, and one becomes surprised by the smoothness of it all. But then, dear readers, this is only the first day.

After a short rest it’s off by coach to Salt Lake City, opening night and the beginning of 10 days of cinematic highs and lows. President [of Sundance] Robert Redford is in good form, even quipping when he hears a cell phone go off: "Tell them to call me back, I’m talking now."

Redford reminds us of his initial ideal, and that tonight’s film, The Laramie Project, defines that ideal. And it does.

Based on the play, which was conceived at Sundance’s theatre lab, Moises Kaufman’s documentary style account of the brutal murder of a young gay man in Laramie, Wyoming, is profound and emotionally rich study of bigotry, community, the media and the role of art in examining our lives. Featuring a stellar cast all of who performs sublimely in a vividly textured and insightful, poetic and powerful work. Perhaps not the most obvious choice for opening night, it is yet imbued with a prosaic sense of optimism. The Laramie Project is a wonderful prelude of things to come. May mainstream Hollywood sit up and take notice.

Tomorrow the movies begin and the 2002 Sundance Film Festival will get underway properly. As Redford noted, it’s all about the filmmakers.

DAY 1

Time to settle down and watch a few films, eat for a change and soak in the Sundance atmosphere before the real work begins on Day 2.

While it took some getting used to finding new press screening venues, the 8.30 screening of the new Australian film One Night the Moon worthy the preceding frustrations. Already a critical success back in Oz, this exquisitely crafted gem from Aboriginal filmmaker Rachel Perkins, is an original work, blending music and narrative to help tell a passionate and powerful tale.

Based on a true story, it is set in early 1932. Emily (Memphis Kelly) the only daughter of a farming family in outback Australia, steps out of her bedroom window, fascinated by the full moon beaming down on a dramatic landscape. Distraught and terrified, her mother (Kaarin Fairfax) and father (Paul Kelly) call the police to search for her, but when Albert (Kelton Pell) the black tracker police constable turns up to help, the father refuses to let him – or any other blackfella - on his property, despite the Sergeant’s (Chris Haywood) insistence that Albert’s the best tracker around. When the search party fails to find Emily and the days stretch to weeks, her mother seeks out Albert for his help.

A richly layered drama exploring the tragic effects of bigotry at its most shameful, this haunting work uses operatic convention and dramatic techniques to tell its story. Beautifully shot within the sparseness of South Australia, the film is original and riveting. Unlike Moulin Rouge, One Night the Moon is more cinematically understated which enhances its dominant themes, yet the music remains an integral and poetic facet of the narrative. It’s a tough film to sell here, but hopefully a Showtime or HBO will take it on.

After rushing to a press screening of John Malkovich’s The Dancer Upstairs, only to discover that it’s been cancelled, it was time to head back to Sundance headquarters and actually relax.

Then off to the large Eccles auditorium to see the competition entry, XX/XY, an impressive directorial debut by Austin Chick. This starkly honest drama revolves around three friends who begin a dangerous three-way relationship that spirals out of control, leading to dire consequences that haunt them ten years later. A thoughtfully detailed study of passion, sex and that elusive search for love, xx/xy is erotic, startling and maybe a tad too honest. Sharply written by Chick, the film boasts some of the best work by young women I’ve seen on film in years.

Australian actress Maya Stange is extraordinary, brave and complex as Sam, the young woman who falls for would be filmmaker Coles (a superb Mark Ruffalo in a tough role}. Stange shows depth and insight and coupled with breathtaking beauty, is a star in the making. Ex-90210’s Kathleen Robertson is memorable as the sexual, free-spirited Thea, but it’s newcomer Petra Wright, in just her third major film role, whose portrayal of Coles’ ‘safe’ girlfriend whom we meet 10 years following the initial events in the film, who gives the most astounding performance.

Detailed, articulate and honest, Wright is destined for stardom. Xx/xy is both profound and real, yet maintains a sense of humour – much like relationships.

Having scored a ticket to the world premiere of John Malkovich’s directorial debut, The Dancer Upstairs, it was obvious this was going to be an intense cinematic experience. And it was.

Set somewhere in Latin America, a world of poverty, violence and revolution, the always magnificent Javier Bardem plays a former lawyer now police detective, determined to hunt down a revolutionary leader directly or indirectly responsible for a series of brutal terrorist attacks and murders. At the same time, this happily married father of a young daughter becomes increasingly drawn to a beautiful ballet teacher, which may have dangerous consequences.

Though based on Nicholas Shakespeare’s acclaimed novel, Dancer Upstairs resonates with actual events, yet its own right, is an intricately textured and hypnotic masterwork, a provocative piece that is part political thriller and part human drama, and both facets have been perfectly interwoven by an extraordinary new filmmaker.

Malkovich the actor is fascinating, but from this visually arresting work, his true calling is directing. Malkovich retains a fluid visual style, and also has a knack in so perfectly creating tone and sustaining tension. Often violent and disturbing, The Dancer Upstairs is not a mass audience film, but it is a movie worth discovering. It’s an intelligent and compelling masterpiece. It was also the perfect film to end the first full day here at Sundance.