By Bailey Pennick
One of the most exciting things about the Sundance Film Festival is having a front-row seat for the bright future of independent filmmaking. While we can learn a lot about the filmmakers from the 2026 Sundance Film Festival through the art that these storytellers share with us, there’s always more we can learn about them as people. We decided to get to the bottom of those artistic wells with our ongoing series: Give Me the Backstory!
If you’re an eager college student, getting an internship is pretty standard to get credit or a small dose of experience before jumping feet first into the wide world. For acclaimed filmmaker Barbara Kopple, her first internship in New York changed the course of her life. “I had just moved to the city and was taking a cinéma vérité class at The New School, which was where I learned about the Maysles brothers — who were working just up the street,” she remembers about her first jump into nonfiction storytelling. “They needed an intern for their latest projects, Grey Gardens and Gimme Shelter, so I jumped at the opportunity. Under their mentorship I fell in love with documentary filmmaking and I haven’t stopped since.”
Kopple’s apprenticeship under the documentary legends sparked a flame inside of her that turned into a hot blaze as she started to witness injustices in labor fights around the country. Her films, including the Academy Award–winning Harlan County, USA (1976), highlight the struggles of labor movements and uplift ordinary people standing up in the face of immense injustice and exploitation. After premiering at NY Film Festival in 1990, Kopple brought American Dream, her powerful documentary following the Hormel meatpacking strike in Minnesota, to the 1991 Sundance Film Festival.
The film, which won several awards at the Festival and went on to grab another Oscar for Koppel, is complex and emotional. Following that same vérité style that she honed with her time learning from the Maysles, Koppel’s American Dream is essential viewing for everyone. We’re honored to have it playing within the Park City Legacy section of the 2026 Sundance Film Festival.
Read on about the production of the film, Kopple’s history with Sundance Institute, and how we can all take a stand against injustice within our society.
What was the biggest inspiration behind American Dream?
In the early ’80s when I was approached by Ray Rogers at my New York office. He told me about the local union battling a substantial wage cut affecting the Homel meatpacking plant in Austin, Minnesota. During that time, I was already hearing more and more about massive layoffs affecting industrial workers across very lucrative industries. I wanted to understand why this was happening, how it was affecting working communities, and what those people were doing about it. So when Ray presented an opportunity to investigate this story, my crew and I landed and flew out north to meet the workers in person. Their willingness to fight back against Hormel, even during this difficult time in the labor movement, stood out to me. When I witnessed that passion firsthand, that’s when I knew I had to follow their story.
Films are lasting artistic legacies, what do you want yours to say?
American Dream shows a very difficult chapter of labor history. What I hope people take from this film is what I took from it: inspiration from the tireless effort of the plant workers and a deep respect for the people who continue to get back up and fight. It’s a film meant to bring people together and remind our community of the shared belief that everyone deserves a decent wage and safe working conditions.
Describe who you want American Dream to reach?
I want the film to reach all people who will not be silenced and are determined to take a stand for what they believe is right.
Your favorite part of making the film? Memories from the process?
The best part of making this film was getting to know and care for the community in Austin, Minnesota. They welcomed me with open arms and treated me and my crew like family. After finishing the film, I wasn’t sure how they would respond. We showed it in a school auditorium, on Memorial Day weekend. The whole time the room was dead silent, I was so nervous and hoped they would like it. But at the very end, 1500 people of Austin gave themselves and their story a standing ovation. I remember one woman coming up to me and saying, “Now my children will know what their mother fought for and where she was when she wasn’t home.” That was definitely my favorite moment and has stuck with me for all these years.
What was a big challenge you faced while making this film?
Getting this film done was a constant uphill battle. Because of the politics at the time, it was hard to gather funding for a film on unionism. There was a point in the middle of the infamous Minnesota winter, where we had less than $300 in the bank. We would garner donations from local churches, and for every birthday and holiday I’d ask for a check in lieu of a gift. I couldn’t have done it without the support and sacrifice of my crew, and the strength of the people of Austin, Minnesota.
Why does this story need to be told now?
This generation is dealing with a lot of fear about the future of work and freedom in our country. At the same time, people are invigorated and turning towards collective action to create change. This film is about showing how much of America has always wanted the same things: fair pay, safety, and dignity in their workplace. More importantly, it’s a reminder that those rights are not guaranteed and it’s up to all of us to fight for them.
Which of your personal characteristics contributes most to your success as a storyteller?
Persistence, passion, and a love of people.
Tell us about your history with Sundance Institute.
I’ve had a long and lasting relationship with the Sundance Film Festival and it’s an honor to be a part of this year’s legacy program.
I remember being at the first opening at the, then named, U.S. Film Festival in 1985. I was invited to be on the first documentary jury with two giants of the field, D.A. Pennebaker and Frederick Wiseman. At the time the audiences were a little smaller, but the energy was just as electric. My second film, American Dream, premiered in 1991 for the first ever officially titled “Sundance Film Festival,” which won the Grand Jury Prize, Filmmaker Trophy, and Audience Award. When I got the call that the 4K restoration of American Dream will be shared with this generation of film lovers I was elated. It’s a story that so dear to me and crucial in today’s political climate.
Since the ’90s, I’ve premiered at the Festival four more times: Wild Man Blues (1998, Best Cinematography; Tom Hurwitz), My Generation (WIP, 2000), Running From Crazy (2013), and Gigi Gorgeous (2017). Each visit I’m amazed at the growth of the Festival and the talent of new voices. While this year is bittersweet, as we’re saying goodbye to Robert Redford and Park City, it’s a privilege to pay tribute to the Festival’s many contributions to independent cinema.
