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.

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.

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

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.

In the indie film world, you’ll often find talented people having more than one job. When you see Brit Marling on screen, you’ll see a vibrant young actress in a strong role and innovative narrative. But Marling also helped write that story and make the film exist as one of the producers.

Last year’s Grand Jury Prize for U.S. Short Film went to Drunk History: Douglass and Lincoln, the latest chapter in an online comedy series in which famous actors re-enact historical accounts from intoxicated narrators.

While the film’s title will no doubt cause many a pulse to quicken in anticipation of another sensual bloodbath by gorgeous, misunderstood creatures of the night, Vampire is a film that skillfully transcends current sensationalism and the growing public obsession with vampires. At times the film even takes a sideways, humorous look at a cultural phenomenon that is more often laughable than significant, but Vampire is by no means a retelling of the same old story. Set somewhere in the Pacific Northwest, the story focuses immediately on Simon, a nondescript and seemingly ordinary high school teacher who has a penchant for not only drinking human blood, but also aiding in the suicide of willing young women and then taking their essence home in jars.

Days …

“They told me it would be a down home, laid back event,” juror Barry Jenkins said as he elicited teenage girl-like screams from announcing some of the Short Film awards. The Sundance Film Festival Awards for Best Short Film were just announced at the yearly shorts award party at the, ahem, very striking Jupiter Bowl.
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From the way Hollywood deals with matters of faith, you’d think it was a closed case. Either belief is passively assumed, an unchallenged fact of existence—think of all those hackneyed, string-scored, skyward-glancing, safely vague happy endings—or it’s something to be feared and vilified. In other words: inspirational treacle or horror.

Park City, UT –The 2011 Sundance Film Festival this evening announced the jury prizes in shorts filmmaking and gave honorable mentions based on outstanding achievement and merit. The awards were presented at a ceremony held in Park City, Utah. These award recipients will also be honored at the Festival’s Awards Ceremony hosted by Sundance Alum Tim Blake Nelson on Saturday, January 29.

There’s never been a film quite like Bengali Detective. It has the jack-of-all-eclecticism of a big budget Bollywood musical—part detective story, part underdog yarn, part ensemble city tale—except for one unlikely detail: it’s all real. “It’s always been a dream of mine to make a documentary that could step into genre,” says Phil Cox, a 36-year-old Londoner whose second feature is a long way from the embedded combat reporting that established him as a filmmaker to watch (Cox’s reports from Darfur, broadcast on Channel 4, are credited with alerting the world to the genocide crisis there).

PARK CITY, UT –Sundance Institute today announced a new program to connect its artists with audiences by offering access to top-tier creative funding and marketing backed by the Institute’s promotional support.  These essential services will act as building blocks for future program components which aim to provide filmmakers access to a broad and open array of third-party digital distribution platforms. Adding to the nonprofit Institute’s acclaimed programs for Screenwriters, Directors, Film Composers, Producers and Theatre artists around the world, the new services were developed based on research and input from filmmakers, industry advisors, its Technology Committee and its Board of Directors, including President Robert Redford.