Based on the collaborations of director Jesse Peretz and writer Evgenia Peretz, the sibling-centered film My Idiot Brother takes brother-sister dynamics to every extreme. When Ned (Paul Rudd) is released from prison, his three sisters (Emily Mortimer, Elizabeth Banks, and Zooey Deschanel) take turns letting him crash at their place. The comedy really shines with Ned’s candid, trusting attitude.

Israeli filmmaker Yossi Madmoni brings the powerful portrait of familial conflict Restoration to the Festival this year, demonstrating deft directorial skills and a filmmaker to watch in the future. The film, written by Erez Kav-El, tells the story of an antiques dealer dedicated to restoring old furniture who gains a new apprentice while at the same time is losing his son. Screening in the World Cinema Dramatic competition, Restoration is at once a very specific story and a new take on classic themes of generational strife, and Madmoni’s graceful attention to the nuances of performance creates a film of surprising impact.

Don’t bother confining Yi Zhou to a single artistic medium. The young Chinese artist considers the collision of art forms essential to conveying the surreal landscapes presented in her work. Her 2011 Festival short, The Greatness, is featured in this year’s Animation Showcase and fuses 3-D animation with sculpture and film to take the audience on a computer-generated voyage inspired by Dante’s Divine Comedy.

David Mackenzie’s apocalyptic romance, Perfect Sense, is a sensuous experiment in sensory deprivation. A mysterious virus provokes a wave of sadness in its victims, followed by the permanent loss of the sense of smell. The condition confounds doctors and scientists, including a beautiful epidemiologist named Susan (Eva Green), and makes life difficult for master chef Michael (Ewan MacGregor).

** MEDIA ALERT **
WHAT: Sundance Institute and NHK (Japan Broadcasting Corporation) have announced Cherien Dabis, director of May in the Summer, as winner of the 2011 Sundance / NHK International Filmmaker Award.
Originally created to celebrate 100 years of Cinema, the annual award recognizes and supports a visionary filmmaker on his or her next film. Sundance Institute staff works closely with the winner throughout the year, providing creative and strategic support through the development, financing and production of their films.

Sundance may be synonymous with American independent cinema, but in recent years the Institute has made far-ranging commitments to going global. The inaugural recipients of the Sundance Institute/Mahindra Global Filmmaking Award were announced on Tuesday at the Sundance House Presented by HP at Kimball Arts Center, drawing mid-Festival fanfare for an ambitious partnership between the American nonprofit and one of India’s largest corporations. “We’re always looking to discover more about the world through film, and where the film communities are flourishing,” said Alesia Weston, associate director of the Sundance Institute Feature Film Program.

Animator David OReilly isn’t exactly a new kid on the block. Sure, he’s considered up-and-coming, and his 1985 birth year doesn’t exactly qualify him as an age-old veteran. But instead of resting on his laurels after his 2010 short Please Say Something—which screened at the 2010 Festival, won the Golden Bear at the Berlin Film Festival, and Grand Prize at the Ottawa International Animation Festival, among others—he’s hit the ground running with another edgy, twisted, hysterical follow-up venture, The External World, and has graduated quickly from the moniker of “kid” to something a bit more seasoned .

In documentaries as in life, there are few things as fascinating as a world in flux. For Page One: A Year Inside the New York Times, director Andrew Rossi followed the staff of the grey lady’s Media Desk from 2009-2010, chronicling an industry and institution in crisis through the eyes of reporters assigned to do the same. Effortlessly and entertainingly, Rossi’s film manages to tell the larger story of rampant newspaper closings and online threats to traditional journalistic models, as well as the moment-by-moment, deadline-by-deadline reality of running the most vital news organization in the world.

Miguel Arteta’s first trip to the Sundance Film Festival was in 1997 with his celebrated debut feature, Star Maps, a film that not only put the filmmaker on the map but joined a handful of other low budget features to kick-start a new era of American independent filmmaking. Arteta followed Star Maps with Chuck and Buck in 2000, an edgy character study starring Mike White and Chris Weitz. The film was another low-budget effort, and was shot on DV, and again, Arteta earned acclaim, this time for exploring the potential of digital video as a new tool for independent filmmakers, and for continuing to build his own highly personal filmmaking style.

Fast becoming an expert in the fiction short-form, British filmmaker Daniel Mulloy makes his third appearance at the Festival this year, bringing with him the masterfully executed Baby. Mulloy previously premiered the BAFTA-winning short Antonio’s Breakfast at the 2006 Festival, and subsequently returned to Park City the next year with another short, Dad. Screening at the close of Shorts Program IV, his newest piece follows the alluring aftermath when a young woman intervenes in a mugging.

Chaz Bono, the delightfully precocious child of Sonny and Cher, never felt comfortable as a woman. After spending most of his life trying to cope with an existence in a body that was never meant to be his, Chaz finally made the bold decision to undergo gender reassignment and share his journey to manhood in front of a camera crew. Becoming Chaz is the result, a film that starts out as a story about transition and eventually evolves into a true love story.

It’s the Wednesday of the Festival. This is when most of us filmmakers relax. Our films have all screened.

What makes a film independent? Its financing? The edginess of the director’s vision? However you define indie film, the notion of being an outsider – because of a film’s content, or its production outside the studio system – is common to almost everyone’s definition of indie film, as Emanuel Levy points out in his 1999 book Cinema of Outsiders: The Rise of American Independent Film. But a number of movies in this year’s Festival lineup, in addition to being indie films, feature outsiders as characters, or the filmmakers are outsiders to the material they’re covering.
Take Matthew Bate, the Australian director of Shut Up Little Man! An Audio Misadventure, which is screening in the World Cinema Documentary Competition.

Whenever a movie star moves behind the camera to direct, expectations always seem to be both great and small. A high profile brings an outsized level of interest, but also a suspicion of vanity, that a pretty face is straining to be taken seriously. But then there are the actor’s actors, the kinds of professionals for whom the transition seems completely natural and inevitable.