About Sundance Film Festival

Deadline dates and submission fees vary based on category of entry. In order to qualify as a Short Film, the total running time must be less than 50 minutes, including credits. Feature Films must have a total running time of 50 minutes or more. Projects submitted to the Episodic Content category may include multiple episodes of varying lengths, but the total running time cannot exceed 180 minutes. Virtual Reality Projects may be of any length or size, but you must provide a link to download your project's installation package or 360° video file on the special questions section of the application.

Please note that the above dates are not postmark deadlines, they are the dates by which your project must be delivered to us! If your project does not arrive by the deadline for which you have registered, you will be required to make an additional payment in order to bring your account up to date.

Each year, we select 115-125 Feature Films, 60-80 Short Films, 5-10 Episodic Projects, and 15-30 Virtual Reality Projects to play in each of our Festival programs. However, you may not submit your film directly to any one specific program. Instead, you must select from one of eight submission categories, listed below. For more information about our Festival programs and eligibility requirements, please be sure to read our FAQ document.

U.S. NARRATIVE FEATURE FILMS: Any narrative work of fiction of U.S. origin with a running time of 50 minutes or more, including films that are shot in a "mockumentary" style. In order to qualify as a U.S. Narrative Feature Film, the submitted project must be either scripted or improvisational fiction, and at least half of the project's financing must originate from within the United States. Only films that are World Premieres are eligible for our U.S. Dramatic Competition program, but U.S. Narrative Feature Films that have previously screened at up to two other festivals anywhere in the world are still eligible for our out-of-competition programs. U.S. Narrative Feature Films that have been or will be exhibited publicly at one or more non-festival screenings, broadcast or streamed on television or the Internet, or released via any home video or other public distribution platform (Blu-ray, DVD, streaming, VOD, etc.) before January 28th, 2018 are not eligible for any of the Institute’s Festival programs.

U.S. DOCUMENTARY FEATURE FILMS: Any non-fiction film of U.S. origin with a running time of 50 minutes or more, not including entirely scripted or improvised fictionalizations of actual events. If your documentary contains some dramatization of actual events, you may submit to this category, but we will ultimately decide which program is best suited for your project, if accepted. In order to qualify as a U.S. Documentary Feature Film, at least half of the submitted project's financing must originate from within the United States. Only films that are World Premieres are eligible for our U.S. Documentary Competition program, but U.S. Documentary Feature Films that have previously screened at up to two other festivals anywhere in the world are still eligible for our out-of-competition programs. U.S. Documentary Feature Films that have been or will be exhibited publicly at one or more non-festival screenings, broadcast or streamed on television or the Internet, or released via any home video or other public distribution platform (Blu-ray, DVD, streaming, VOD, etc.) before January 28th, 2018 are not eligible for any of the Institute’s Festival programs.

INTERNATIONAL NARRATIVE FEATURE FILMS: Any narrative work of fiction of international origin with a running time of 50 minutes or more, including films that are shot in a "mockumentary" style. In order to qualify as an International Narrative Feature Film, the submitted project must be either scripted or improvisational fiction, and more than half of the project's financing must originate from outside of the United States. International Narrative Feature Films that have previously screened at any festival outside of the film’s country or countries of origin are not eligible for open submission to the Institute for Festival consideration. International Narrative Feature Films that have been or will be exhibited publicly at one or more non-festival screenings, broadcast or streamed on television or the Internet, or released via any home video or other public distribution platform (Blu-ray, DVD, streaming, VOD, etc.) before January 28th, 2018 are not eligible for any of the Institute’s Festival programs.

INTERNATIONAL DOCUMENTARY FEATURE FILMS: Any non-fiction film of international origin with a running time of 50 minutes or more, not including entirely scripted or improvised fictionalizations of actual events. If your documentary contains some dramatization of actual events, you may submit to this category, but we will ultimately decide which program is best suited for your project, if accepted. In order to qualify as an International Documentary Feature Film, more than half of the project's financing must originate from outside of the United States. International Documentary Feature Films that have previously screened at any festival outside of the film’s country or countries of origin are not eligible for open submission to the Institute for Festival consideration. International Documentary Feature Films that have been or will be exhibited publicly at one or more non-festival screenings, broadcast or streamed on television or the Internet, or released via any home video or other public distribution platform (Blu-ray, DVD, streaming, VOD, etc.) before January 28th, 2018 are not eligible for any of the Institute’s Festival programs.

U.S. SHORT FILMS: Any narrative fiction or documentary film of U.S. origin with a running time of less than 50 minutes, including credits. In order to qualify as a U.S. Short Film, at least half of the submitted project's financing must originate from within the United States. Short Films have no premiere requirements or prior screening restrictions to retain eligibility. U.S. Short Films may have been screened at any number of festivals or other public theatrical exhibitions anywhere in the world, broadcast or streamed on television or the Internet, and/or released via any home video or other public distribution platform.

INTERNATIONAL SHORT FILMS: Any narrative fiction or documentary film of international origin with a running time of less than 50 minutes, including credits. In order to qualify as an International Short Film, at least half of the submitted project's financing must originate from outside of the United States. Short Films have no premiere requirements or prior screening restrictions to retain eligibility. International Short Films may have been screened at any number of festivals or other public theatrical exhibitions anywhere in the world, broadcast or streamed on television or the Internet, and/or released via any home video or other public distribution platform.

EPISODIC CONTENT: Projects submitted in this category may be documentary series or fictional series of any genre, whether scripted or improvised. Applicants may submit single or multiple episodes of the same project, provided that the total running time does not exceed 180 minutes, including credits. Multiple episodes should be uploaded as one continuous video file or submitted on a single disc. We accept both short-form and long-form content, but individual episodes may not exceed 60 minutes in length. Open submissions in this category are not eligible for the Festival if the submitted content has been made available to the general public via any platform (broadcast television, Blu-ray, DVD, streaming, VOD, etc.) prior to January 28th, 2018. Projects originating from outside of the United States are still eligible provided that the content has only been released within their country of origin. If the submitted content is a continuation of an existing series that has previously been made available to the public, only new episodes are eligible for open submission to the Festival.

VIRTUAL REALITY PROJECTS: Submissions in this category are eligible to be selected for the Festival’s New Frontier VR Showcase. We encourage the diverse creative community of storytellers and technologists to submit inventive, independently produced works of fiction, documentary, and interactive projects for consideration. Projects must be viewable via one of our accepted VR platforms (360° video, Oculus Rift, HTC Vive, Google Daydream, Samsung Gear VR, PlayStation VR, or Windows Mixed Reality). We request that you provide a link to a 360° video file (.mp4), app download package (.apk), or other installation package via the special questions page of the application. Additionally, we request that you provide a 2D version or documentation of the project via Withoutabox’s Secure Online Screener system. Virtual Reality Projects may have been previously made available, either for free or for purchase, via any existing distribution platform or exhibited at other festivals, industry trade shows, and/or conventions and still retain their eligibility for open submission to the Festival.

مهرجان صندانس للأفلام – مسابقات السينما العالمية

تُعتبر مسابقات صندانس للسينما العالمية مُخصصة لاكتشاف أفلام وأصوات جديدة من شتى أنحاء العالم.
احتفالاً بالاستقلال والابداع والمخاطرة، يلعب صندانس دوراً حيوياً في اكتشاف المواهب الناشئة وخلق روابط لها مع الجماهير ومجتمع صانعي الافلام في أمريكا.

تعرض مسابقة السينما الدرامية العالمية مجموعة مختارة من الافلام الجديدة لصُنّاع أفلام ناشئين. يجب ان تكون الافلام المُقدمة قد لم يسبق لها أن عُرضت دولياً أوعالمياً (أي لم يسبق لها أن عُرضت خارج بلادهم الاصلية). كما يجب ان تكون مدة الافلام خمسين دقيقة أو أكثر. هذه الافلام المقبولة مؤهلة للحصول على جوائز لجنة التحكيم وجائزة الجمهور. من الافلام التي عُرضت لأول مرة ضمن المسابقة منذ نسختها الاولى عام 2005: Animal Kingdom, The Maid, Once, Mermaid, Megane, An Education, Madeinusa, Son of Babylon, Drained, Bronson, 13 Tzameti, Kekexili: Mountain Patrol, و Happy, Happy.

أما مسابقة السينما الوثائقية العالمية، فهي تقدم مجموعة مختارة من الأفلام الوثائقية الجديدة لصانعي افلام من ذوي الرؤية. يجب ان تكون الافلام المُقدمة قد لم يسبق لها أن عُرضت دولياً أوعالمياً (أي لم يسبق لها أن عُرضت خارج بلادهم الاصلية) كما يجب ان تكون مدة الافلام خمسين دقيقة أو أكثر. هذه الافلام المقبولة مؤهلة للحصول على جوائز لجنة التحكيم وجائزة الجمهور. من الافلام الحائزة على جوائز والتي عُرضت لأول مرة ضمن المسابقة منذ نسختها الاولى عام 2005: Man on Wire, Up the Yangtze, Grizzly Man, Senna, Manufactured Landscapes, Searching for Sugar Man, Bus 174, Black Power Mixtape, 5 Broken Cameras, و Afghan Star.

بالاضافة الى المسابقة، تندرج الافلام العالمية تحت هذه الفئات: بارك سيتي عند منتصف الليل (نوع الفيلم)، حدود جديدة ( الافلام التجريبية)، العرض الأول (الافلام التي تُعرض للمرة الاولى لصانعي افلام مهمين). عبر السنوات، برزت افلام عديدة من المهرجان مثل: Bloody Sunday, Whale Rider, Cronos, Motorcycle Diaries, Carne, Dead/Alive, Goodbye Lenin, Calvary, Cube, Zidane, Open Hearts, Haute Tension, Intacto, Shine, Time Crimes, Away from Her, Four Weddings and a Funeral, March of the Penguins, Run Lola Run.

لا نقبل الطلبات المفتوحة لفئة تحت الضوء (أفلام من مهرجانات دولية أخرى).

ليس من الضروري أن يتم التقديم لفئة معينة، أشر فقط اذا كان الفيلم روائي طويل دولي أو وثائقي طويل دولي.

لتقديم فيلمك، الرجاء الضغط على الرابط التالي

פסטיבל סאנדנס – תחרויות "קולנוע עולמי"

תחרויות "קולנוע עולמי" בסאנדנס מוקדשות לאיתור סרטים חדשים וקולות חדשניים מכל רחבי העולם.

פסטיבל סאנדנס, אשר שם לו לדגל ערכי יסוד כעצמאות, יצירתיות ולקיחת-סיכונים, הוא בעל תפקיד חשוב במציאת כישרונות עולים בזירה הבינלאומית, ובקישורם עם קהל צופים ואנשי תעשיית הקולנוע בארצות-הברית.

תחרות הקולנוע העולמי העלילתי מציגה מבחר של סרטים חדשים אשר נוצרו על-ידי קולנוענים מבטיחים בתחילת דרכם. הסרטים המוגשים למסגרת חייבים להיות במעמד בכורה עולמית או בכורה בינלאומית (סרטים אשר לא הוקרנו מחוץ לארץ מוצאם), ואורכם חייב להיות 50 דקות ומעלה. הסרטים המתקבלים לתחרות יתמודדו על מספר פרסים אשר יוענקו על ידי חבר שופטים, כמו גם על פרס חביב הקהל. בין הסרטים אשר הוקרנו בבכורה במסגרת זו, מאז השקתה בשנת 2005, ניתן למצוא את: "ממלכת החיות", "המשרתת", "פעם אחת", Mermaid, Megane, "לחנך את ג'ני", Madeinusa, Son of Babylon, "מרוקן", "ברונסון", "13 זאמטי", Kekexili: Mountain Patrol, "אדמה משוגעת", "בוקר טוב אדון פידלמן" ו"האפי האפי".

תחרות הקולנוע העולמי הדוקומנטארי מציגה מבחר של סרטים חדשים מאת יוצרים דוקומנטאריים בעלי חזון מרחבי העולם. הסרטים המוגשים למסגרת חייבים להיות במעמד בכורה עולמית או בכורה בינלאומית (סרטים אשר לא הוקרנו מחוץ לארץ מוצאם), ואורכם חייב להיות 50 דקות ומעלה. הסרטים המתקבלים לתחרות יתמודדו על מספר פרסים אשר יוענקו על ידי חבר שופטים, כמו גם על פרס חביב הקהל. בין הסרטים הזוכים אשר הוקרנו בבכורה במסגרת זו, מאז השקתה בשנת 2005, ניתן למצוא את: "איש על חבל", "במעלה היאנג-צה", "איש הגריזלי", "סנה", "נופים מתועשים", "מחפשים את שוגרמן", "קו 174", "מיקסטייפ", "חמש מצלמות שבורות" ו"כוכב נולד אפגניסטן".

בנוסף לתחרויות, סרטים בינלאומיים עשויים להיכלל גם במסגרות הבאות: פארק סיטי בחצות (סרטי ז'אנר), ניו פרונטייר (סרטים אקספרימנטאליים) ופרמיירות (בכורות עולמיות של במאים מוכרים). במהלך השנים, סרטים בינלאומיים אשר זכו להכרה נרחבת, כגון "בלאדי סאנדיי", "לרכב על הלוויתן", "קרונוס", "דרום אמריקה באופנוע", Carne, "מוות קליני", "להתראות לנין", Calvary, "קיוב", Zidane, "אהבות פתוחות", "מתח גבוה", "ללא דופי", "ניצוצות", "פשעים בזמן", "הרחק ממנה", "ארבע חתונות ולוויה", "משפחת הקיסרים" ו"Run לולה Run", נודעו ברחבי העולם לאחר הקרנתם בפסטיבל.

אנו איננו מקבלים הגשות עבור מסגרת הספוט-לייט (סרטים אשר הוקרנו בעבר בפסטיבלים בינלאומיים אחרים).

אין זה הכרחי להגיש לאחת המסגרות באופן ספציפי, אלא רק לציין האם הסרט הוא בינלאומי נרטיבי (INF), או בינלאומי דוקומנטארי (IDF).

להגשת סרט, אנא פתח/י את הקישור הבא.

Кинофестиваль Сандэнс - Конкурс Мирового Кино

Конкурс мирового кино Сандэнс посвящен открытию новых фильмов и новых мнений со всего мира.

Празднование независимости, творчества и взятия риска на себя, фестиваль Сандэнс играет жизненную роль в определение новых международных талантов и объединяют их с аудиторией и с киноиндустрией в Соединенных Штатах.

Конкурс Драматического Мирового Кино демонстрирует выбор новых фильмов от кинематографистов. Представленные фильмы должны быть Мировые премьеры или Международные Премьеры (фильмы, которые не показывались за пределами страны своего происхождения) и должны иметь время показа 50 минут или больше. Признанные фильмы могут получить призы жюри и приз зрительских симпатий. Среди фильмов, впервые представленных на конкурсе первого выпуска в 2005 году, такие как: Царство Животных, Служанка, Однажды, Русалка, Мегане, Воспитание Чувств, Маденуса, Сын Вавилона, Выпил, Бронсон, Тринадцать, Кукушили: Горный Патруль,Счастлива, Счастлива.

Конкурс Документального Мирового Кино демонстрирует выбор новых фильмов от визионеров документалистов со всего мира. Представленные фильмы должны быть Мировые премьеры или Междунродные Премьеры (фильмы, которые не показывались за пределами страны своего происхождения) хронометраж должен быть 50 минут или больше. Признанные фильмы могут получить призы жюри и приз зрительских симпатий. Среди фильмов, впервые представленных на конкурсе первого выпуска в 2005 году: Человек на Канате, Вверх Янцзы, Человек-Гризли, Сенна, Промышленные Пейзажи, В Поисках Сахарного Человека, Автобус 174, Черный Мощность Микстейп, 5 Разбитых Камер и Афганской Звезда.

В дополнение к конкурсным катигориям, международные фильмы могут также быть в следующих секциях: Парк-Сити в Полночь (жанровые фильмы), Нью Фронтьр (экспериментальные фильмы) и Премьеры (мировые премьеры от утвердивших себя кинематографистов). За эти годы, были выпущены следующие известные международные работы, как Кровавое воскресенье, Оседлавший Кита, Хронос, Че Гевара: Дневники Мотоциклиста, Мясо, Живая Мертвечина, Гуд бай, Ленин!, Голгофа, Куб, Зидан, Открытые Сердца, Кровавая Жатва, Интакто, Блеск , Временная Петля, Вдали от Неё, Четыре Свадьбы и Одни Похороны, Март Пингвинов и Беги, Лола, Беги.

Для категории Спотлайт мы не принимаем фильмы, которые были показаны на других международных фестивалях.

Нет необходимости подавать на определенную категорию. Просто укажите, если фильм является Международным Художественным (INF) или Международным Документальным (IDF).

Для утверждения фильма, пожалуйста перейдите на линк.

サンダンス映画祭 — ワールドシネマ・コンペティション

サンダンス映画祭のワールドシネマ・コンペティションは、世界中から、新たな視点を持つ映像作家による新しい作品を発掘する事を趣旨としています。

独立心、創造性、そして冒険心を称賛するサンダンス映画祭は、世界中から新進気鋭の映像作家を見出してアメリカの観客と映画業界に紹介する、極めて重要な役割を果たしています。

ワールドシネマ・ドラマティック・コンペティション部門では、選りすぐりの新鋭監督による新作が紹介されます。応募作品は、サンダンス映画祭での上映がワールド・プレミアあるいはインターナショナル・プレミア（製作国以外では上映されていない作品）であり、50分以上の尺である事が条件となります。招待作品は、審査員賞及び観客賞の対象となります。本部門が2005年に導入されて以来、プレミア上映された主な作品は『アニマル・キングダム』『The Maid』『ONCE ダブリンの街角で』『Mermaid』『めがね』『17歳の肖像』『Madeinusa』『バビロンの陽光』『Drained』『クローンは故郷をめざす』『ブロンソン』『13／ザメッティ』『ココシリ』『ももいろそらを』『Happy, Happy』など。

ワールドシネマ・ドキュメンタリー・コンペティション部門では、斬新なビジョンを持つ世界中のドキュメンタリー監督による新作が紹介されます。応募作品は、サンダンス映画祭での上映がワールド・プレミアあるいはインターナショナル・プレミア（製作国以外では上映されていない作品）であり、50分以上の尺である事が条件となります。招待作品は、審査員賞及び観客賞の対象となります。本部門が2005年に導入されて以来プレミア上映された主な作品は『マン・オン・ワイヤー』『Up the Yangtze』『グリズリーマン』『アイルトン・セナ〜音速の彼方へ』『いま ここにある風景』『シュガーマン 奇跡に愛された男』『バス174』『The BLACK POWER ブラック・パワー〜アメリカの光と影〜』『壊された５つのカメラ』『Afghan Star』など。

なお、外国からの応募作品はコンペティション部門以外にも、「Park City at Midnight」（ジャンル映画）、「New Frontier」（実験映画）、「Premieres」（実績を持つ監督による新作のワールドプレミア）などの部門でのセレクションも検討されます。今までで、『ブラディ・サンデー』『クジラの島の少女』『クロノス』『モーターサイクル・ダイアリーズ』『CARNE〜カルネ』『ブレインデッド』『グッバイ、レーニン！』『Calvary』『ジダン 神が愛した男』『しあわせな孤独』『ハイテンション』『INTACTO〜10億分の１の男〜』『シャイン』『TIME CRIMES タイム・クライムス』『アウェイ・フロム・ハー 君を想う』『フォー・ウェディング』『皇帝ペンギン』『ラン・ローラ・ラン』など、高く評価された数々の作品がサンダンス映画祭を出発点としてきました。

「Spotlight」部門（他の国際映画祭から招待される作品）では募集を行っておりません。

特定した部門に応募する必要はありません。International Narrative Feature / INF（外国長編ナラティブ映画）かInternational Documentary Feature / IDF（外国長編ドキュメンタリー映画）のいずれかは必ずご提示下さい。

下記のリンクから御応募下さい。

Sundance Film Festival – Konkursy Kina Światowego

Celem Konkursów Kina Światowego podczas Sundance Film Festival jest odkrywanie nowych filmów i nowych głosów z całego świata.

Doceniając niezależność, kreatywność i odwagę w podejmowaniu ryzyka, Sundance Film Festival, odgrywa istotną rolę w odkrywaniu pojawiających międzynarodowych talentów i w tworzeniu więzi łączącej ich z publicznością i przemysłem filmowym w Stanach Zjednoczonych.

Międzynarodowy Konkurs Filmów Fabularnych, prezentuje szeroki wybór najnowszych obrazów wschodzących twórców kina. Zgłaszane filmy muszą spełnić warunek światowej lub międzynarodowej premiery (filmy, które nie były pokazywane poza krajem pochodzenia), a czas ich trwania musi wynosić minimum 50 minut. Wyselekcjonowane filmy ubiegają się o nagrody jury i nagrodę publiczności. Wśród filmów, które premierę miały w konkursie od pierwszej edycji w 2005 roku, są: Animal Kingdom, The Maid, Once, Mermaid, Megane, An Education, Madeinusa, Son of Babylon, Drained, Bronson, 13 Tzameti, Kekexili: Mountain Patrol, All That I Love and Happy, Happy.

Międzynarodowy Konkurs Filmów Dokumentalnych, prezentuje wybór nowych obrazów wizjonerskich twórców kina dokumentalnego z całego świata. Zgłaszane filmy muszą spełnić warunek światowej lub międzynarodowej premiery (filmy, które nie były pokazywane poza krajem pochodzenia), a czas ich trwania musi wynosić minimum 50 minut. Wyselekcjonowane filmy ubiegają się o nagrody jury i nagrodę publiczności. Wśród filmów, które premierę miały w konkursie od pierwszej edycji w 2005 roku, są: Man on Wire, Up the Yangtze, Grizzly Man, Senna, Manufactured Landscapes, Searching for Sugar Man, Bus 174, Black Power Mixtape, 5 Broken Cameras and Afghan Star.

Poza konkursami, filmy ze świata mogą być pokazane w następujących sekcjach: Park City at Midnight (filmy gatunkowe), New Frontier (filmy eksperymentalne) i Premiery (prapremiery filmów uznanych twórców). W ciągu ostatnich lat, wiele uznanych dzieł kina międzynarodowego, zostało odkrytych podczas festiwalu, wśród nich: Bloody Sunday, Whale Rider, Cronos, Motorcycle Diaries, Carne, Dead/Alive, Goodbye Lenin, Calvary, Cube, Zidane, Open Hearts, Haute Tension, Intacto, Shine, Time Crimes, Away from Her, Four Weddings and a Funeral, March of the Penguins and Run, Lola, Run.

Nie przyjmujemy zgłoszeń do kategorii Spotlight (filmy z innych festiwali międzynarodowych).

Nie jest konieczne, aby aplikować do konkretnej sekcji. Wystarczy wskazać, czy film jest Międzynarodowym Filmem Fabularnym (INF) lub Międzynarodowym Filmem Dokumentalnym (IDF).

Aby zgłosić film proszę kliknąć ten link.

圣丹斯电影节 — 国际电影竞赛单元

圣丹斯电影节（Sundance Film Festival）国际竞赛单元致力于发掘世界各地具有独特视角的新锐影片。

以鼓励独立、创新和实验冒险精神为使命，圣丹斯电影节为国际新生代电影人提供了崭露头角的舞台，并将他们的作品介绍给美国的观众及电影业界人士。

圣丹斯电影节国际剧情片竞赛单元（World Cinema Dramatic Competition）汇集了来自世界各地新锐导演的剧情长片新作。提交的影片必须为全球首映或国际首映（尚未在本国以外的国家或地区首映过的电影），总片长50分钟以上。入围的影片将共同角逐评审团奖和观众票选奖。自2005年本单元创立以来，曾经参赛的代表作品有：《动物王国》、《女佣》、《曾经》、《水仙女》、《眼镜》、《成长教育》、《玛黛奴莎》、《巴比伦之子》、《下水道之味》、《布朗森》、《百万杀人游戏》、《可可西里》、《看上去很美》和《欢愉主妇》等。

圣丹斯电影节国际纪录片竞赛单元(World Cinema Documentary Competition)将在全球范围内甄选视角独特的纪录长片新作。提交的影片必须是全球首映或国际首映（尚未在本国以外的国家或地区首映的纪录片），总片长50分钟以上。入围的影片将共同角逐评审团奖和观众票选奖。自2005年本单元创立以来，曾经参赛的代表作品有：《走钢丝的人》、《沿江而上》、《灰熊人》、《永远的车神》、《人造风景》、《寻找小糖人》、《巴士174事件》、《1967-1975黑权运动呐声集》、《五台破相机》以及《阿富汗明星》等。

除上述竞赛单元外，报名的国际影片也有可能入选下列非竞赛单元：午夜帕克城（Park City at Midnight，类型电影），新前线（New Frontier，实验电影）和首映单元（Premieres，知名电影人作品的全球首映）。曾经有多部享誉世界的影片在这里初次亮相：《血色星期天》、《鲸骑士》、《魔鬼银爪》、《摩托日记》、《马肉》、《群尸玩过界》、《再见列宁》、《神父有难》、《异次元杀阵》、《齐达内：21世纪肖像》、《打开心扉》、《顫慄》、《赌命法则》、《闪亮的风采》、《时空罪恶》、《柳暗花明》、《四个婚礼和一个葬礼》、《帝企鹅日记》和《罗拉快跑》等。

注：聚光灯单元（Spotlight）不接受公开报名。我们将于其他国际电影节的参展作品中甄选优秀影片在该单元展映。

提交时，无须报名特定单元，只需注明您的影片是国际剧情长片（INF）或是国际纪录长片（IDF）即可。

日舞影展 ─ 國際電影競賽單元

日舞影展（Sundance Film Festival又譯「辛丹斯電影節」）國際競賽單元的宗旨為從全世界發掘具有獨特視角的新銳影片。

以鼓勵獨立、創新和實驗冒險精神為使命，日舞影展為國際新生代電影人提供了嶄露頭角的舞台，並將他們的作品介紹給美國的觀眾和電影業界人士。

日舞影展之「國際劇情片競賽單元」(World Cinema Dramatic Competition)彙集了來自世界各地新銳導演的劇情長片新作 。報名影片必須為全球首映或國際首映（尚未在本國之外的國家或地區首映過的影片），影片總長50分鐘以上。入選的影片將共同角逐評審團獎及觀眾票選獎。自2005年此單元創立以來，曾經參賽的代表作品有：《生存法則/野獸家族》、《女僕/下女物語》、《曾經。愛是唯一/一奏傾情》、《我的人魚女友/美人魚》、《樂活俱樂部/眼鏡》、《名媛教育/少女失樂園》、《瑪黛努莎/美國製造》、《巴比倫之子》、《下水道之味》、《布朗森》、《百萬殺人遊戲/博命輪盤賭》、《可可西里》、《看上去很美》以及《性福快樂》。

日舞影展之「國際紀錄片競賽單元」（World Cinema Documentary Competition）將從全世界甄選視角獨特的紀錄長片新作。報名影片必須是全球首映或國際首映（尚未在本國之外的國家或地區首映過的影片），影片總長50分鐘以上。入選的影片將共同角逐評審團獎及觀眾票選獎。自2005年此單元創立以來，曾經參賽的代表作品有：《偷天鋼索人/踩鋼線的人》、《沿江而上》、《灰熊人》、《車神塞納》、《人造風景》、《尋找甜秘客/尋找隱世巨聲》、《174公車劫持事件/巴士174事件》、《米斯塔克普黑色勢力/1967﹣1975黑權運動吶聲集》、《摔不壞的攝影機/五台破相機》以及《阿富汗之星光大道/阿富汗明星》。

除上述競賽單元外，報名的國際影片也有可能入選下列非競賽單元：「午夜帕克城」（Park City at Midnight，類型電影），「新前線」（New Frontier，實驗電影）和「首映」（Premieres，知名電影人作品的全球首映）。曾有多部享譽世界的電影首次在這些單元裡亮相，包括：《血色星期天》、《鯨騎士》、《魔鬼銀爪》、《革命前夕的摩托車日記/哲古華拉少年日記》、《馬肉》、《新空房禁地/群屍玩過界》、《再見列寧/快樂的謊言》、《神父有難》、《異次元殺陣/心慌方》、《21世紀風雲：席丹‧記錄‧足球/施丹360》、《窗外有情天/敞開心扉》、《顫慄》、《賭命法則》、《鋼琴師》、《時間殺人》、《妳的樣子》、《妳是我今生的新娘/四個婚禮一個葬禮》、《企鵝寶貝/小企鵝大長征》以及《羅拉快跑/疾走羅拉》。

備註：「聚光燈」單元（Spotlight）不接受報名，我們將於其他國際電影節的參展作品中甄選優秀影片在該單元展映。

申請時，無須報名特定單元，只需註明您的影片是國際劇情長片（INF）或是國際紀錄長片（IDF）即可。

Filmový festival Sundance – Světové filmové soutěže

Světové filmové soutěže, které pořádá Sundance, mají za cíl objevit nové filmy a nové hlasy z celého světa.

Filmový festival Sundance si cení nezávislosti, kreativity a odvahy riskovat. Proto hraje nezastupitelnou roli v objevování začínajících mezinárodních talentů a jejich propojování s publikem i profesionály ve Spojených státech.

Světová soutěž hraného filmu uvádí výběr nových snímků začínajících filmových tvůrců. Přihlášené filmy musí být uvedeny ve světové nebo mezinárodní premiéře (jedná se tedy o filmy, které doposud nebyly uvedeny mimo zemi svého vzniku) a promítací čas musí být alespoň 50 minut. Přijaté snímky usilují o ceny poroty a diváků. Mezi filmy, které měly premiéru v rámci soutěže, patří od roku 2005, kdy poprvé začala: Království zvěrstev, Služebná, Once, Mořská víla, Brýle, Škola života, Madeinusa, Syn Babylonu, O Cheiro do Ralo, Bronson, Ruská ruleta, Horská hlídka, Čtyři slunce a Happy, Happy.

Světová soutěž dokumentárního filmu uvádí výběr nových snímků nadaných dokumentaristů z celého světa. Přihlášené filmy musí být uvedeny ve světové nebo mezinárodní premiéře (jedná se tedy o filmy, které doposud nebyly uvedeny mimo zemi svého vzniku) a promítací čas musí být alespoň 50 minut. Přijaté snímky usilují o ceny poroty a diváků. Mezi filmy, které měly premiéru v rámci soutěže, patří od roku 2005, kdy poprvé začala: Muž na laně, Up the Yangtze, Grizzly Man, Senna, Manufactured Landscapes, Pátrání po Sugar Manovi, Bus 174, Black Power, Pět rozbitých kamer a Afghan Star.

Kromě hlavní soutěže jsou mezinárodní filmy posuzovány v následujících sekcích: Park City at Midnight (žánrové filmy), New Frontier (experimentální filmy) a Premieres (světové premiéry renomovaných filmových tvůrců). Za uplynulá léta z festivalu vyšly díla světového významu jako Krvavá neděle, Pán velryb, Stroj času, Motocyklové deníky, Carne, Dead/Alive, Good, bye Lenin!, Calvary, Kostka, Zidane, portrét 21. století, Otevřená srdce, Noc s nabroušenou břitvou, Intacto, Záře, Time Crimes, Daleko od ní, Čtyři svatby a jeden pohřeb, Putování tučňáků a Lola běží o život.

Nepřijímáme veřejné přihlášky do kategorie Spotlight (filmy, které byly promítány na jiném mezinárodním festivalu).

Ńení nutné hlásit se do určité sekce. Jen uveďte, zda se jedná o film hraný, tj. International Narrative Feature, zkratka INF, nebo dokumentární, tj. International Documentary Feature, zkratka IDF.

K podání přihlášky použijte tento link.

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Le Festival du Film de Sundance – Les Concours du Cinema Mondial

Les Concours du Cinema Mondial de Sundance sont dédiés à la découverte de nouveaux films et de nouvelles voix a travers le monde.

Célébrant l'indépendance, la créativité et la prise de risque, le Festival du Film de Sundance joue un rôle essentiel dans l’identification des talents internationaux émergents, et dans leur mise en relation avec les publics et avec l’industrie cinématographique Américaine.

Le Concours Mondial du Cinema de Fiction présente une sélection de nouveaux films faits par des cinéastes émergents. Les films présentés sont obligatoirement des premières mondiales ou bien des premières internationales (des films qui n’ont pas été visionnés en dehors de leur pays d’origine) et doivent être d’une durée minimum de 50 minutes. Les films acceptés seront éligibles aux Prix du Jury et au Prix du Public. Parmi les films ayant eu leur première en compétition de Sundance depuis la première édition en 2005 : Animal Kingdom, The Maid, Once, Mermaid, Megane, An Education, Madeinusa, Son of Babylon, Drained, Bronson, 13 Tzameti, Kekexili: Mountain Patrol, et Happy, Happy.

Le Concours Mondial du Cinéma Documentaire présente une sélection de films nouveaux faits par des cinéastes internationaux et visionnaires specialises dans le documentaire. Les films présentés sont obligatoirement des premières mondiales ou bien des premières internationales (des films qui n’ont pas été visionnés en dehors de leur pays d’origine) et doivent être d’une durée minimale de 50 minutes. Les films acceptés seront éligibles aux Prix du Jury et au Prix du Public. Parmi les films ayant eu leur première en compétition de Sundance depuis la première édition en 2005 : : Man on Wire, Up the Yangtze, Grizzly Man, Senna, Manufactured Landscapes, Searching for Sugar Man, Bus 174,Black Power Mixtape, 5 Broken Cameras et Afghan Star.

En plus de la Compétition, les films internationaux sont aussi considérés pour les sections suivantes du Festival: Park City at Midnight (films de genre), New Frontier (films expérimentaux) et Premières (premières mondiales de cinéastes établis). Au cours des années, des œuvres internationales acclamés comme : Bloody Sunday, Whale Rider, Cronos, Motorcycle Diaries, Carne, Dead/Alive, Goodbye Lenin, Calvary, Cube, Zidane, Open Hearts, Haute Tension, Intacto, Shine, Time Crimes, Away from Her, Four Weddings and a Funeral, March of the Penguins et Run, Lola, Run, ont fait parti des selections du festival.

Nous n'acceptons pas les candidatures ouvertes (candidatures spontanées et sans recommandation spéciale) pour la catégorie Spotlight (films qui ont étés visionnés à d’autre festivals internationaux).

Il n’est pas nécessaire de soumettre votre film à une section particulière. Veuillez juste indiquer si le film est un long-métrage narratif international (INF) ou bien un long-métrage documentaire international (IDF).

Pour soumettre un film veuillez suivre ce lien.

In den beiden World Cinema Reihen präsentiert Sundance seine Neuentdeckungen: außergewöhnliche Filme von bislang unbekannten Ausnahmetalenten aus aller Welt.

Das Interesse und Engagement des Sundance Film Festivals gilt Indie-Filmemachern, Querdenkern und Kreativen mit Mut zum Risiko. Seine Aufgabe besteht unter anderem darin die Aufmerksamkeit der US-amerikanischen Filmbranche und des US-amerikanischen Publikums auf diese internationalen Filmemacher zu lenken.

Die World Cinema Dramatic Competition ist ein Showcase für Nachwuchsregisseure. Teilnahmeberechtigt sind Weltpremieren und internationale Premieren (Filme, die außerhalb ihres Ursprungslandes noch nicht gezeigt wurden) und eine Länge von mindestens 50 Minuten haben. Die Filme dieser Reihe gehen für den Jury- und den Zuschauer-Preis ins Rennen. Zu den Filmen, die in dieser Reihe ihre Premiere gefeiert haben gehören: Animal Kingdom, The Maid, Once, Mermaid, Megane, An Education, Madeinusa, Son of Babylon, Drained, Bronson, 13 Tzameti, Kekexili: Mountain Patrol, Feuchtgebiete und Happy, Happy.

Die World Cinema Documentary Competition ist ein Showcase für bisher unbekannte Dokumentarfilmemacher aus aller Welt. Teilnahmeberechtigt sind Weltpremieren und internationale Premieren (Filme, die außerhalb ihres Ursprungslandes noch nicht gezeigt wurden) und eine Länge von mindestens 50 Minuten haben. Die Filme dieser Reihe gehen für den Jury- und den Zuschauer-Preis ins Rennen. Zu den Filmen, die in dieser Reihe ihre Premiere gefeiert haben gehören: Man on Wire, Up the Yangtze, Grizzly Man, Senna, Manufactured Landscapes, Searching for Sugar Man, Bus 174, Black Power Mixtape, 5 Broken Cameras und Afghan Star.

Internationale Filme werden, außer in den World Cinema Competitions, auch in den folgenden Reihen gezeigt: Park City at Midnight (Genre-Film), New Frontier (experimenteller Film) undPremieres (Weltpremieren von renommierten, internationalen Filmemachern). In diesen Reihen wurden über die Jahre Filme wie Bloody Sunday, Whale Rider, Cronos, Motorcycle Diaries, Carne, Dead/Alive, Good bye, Lenin!, Calvary, Cube, Zidane, Open Hearts, Haute Tension, Intacto, Shine, Time Crimes, Away from Her, Four Weddings and a Funeral, March of the Penguinsund Lola, Rennt gezeigt.

Einreichungen für die Spotlight Reihe sind nicht möglich. (Spotlight Filme werden von uns bei anderen renommierten, internationalen Festivals gesichtet und eingeladen).

Filme müssen nicht für eine bestimmte Reihe eingereicht werden. Anzugeben ist nur, ob es sich um einen internationalen, abendfüllenden Spielfilm (International Narrative Feature - INF) oder einen internationalen, abendfüllenden Dokumentarfilm (International Documentary Feature - IDF) handelt.

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As Competições Mundiais de Cinema em Sundance se dedicam a descoberta de novos filmes e novas vozes ao redor do mundo.

Celebrando a independência, a criatividade e a tomada de riscos, o Festival de Filmes de Sundance desempenha um papel vital ao identificar talentos internacionais emergentes e os conecta com audiências e a industria dos Estados Unidos.

A Competição Dramática Mundial de Cinema mostra uma seleção de filmes novos de cineastas emergentes. Filmes submetidos deverão ser Estreias Mundiais ou Estreias Internacionais (filmes que não estrearam fora do seu país de origem) e deverão ter uma duração de 50 minutos ou mais. Filmes aceitos são elegíveis para prêmios do júri e o prêmio popular.
Entre os filmes estreados na competição desde a primeira edição em 2005: Animal Kingdom, The Maid, Once, Mermaid, Megane, An Education, Madeinusa, Son of Babylon, Drained, Bronson, 13 Tzameti, Kekexili: Mountain Patrol, Restoration e Happy, Happy.

A Competição Documentário Mundial de Cinema mostra uma seleção de filmes novos de cineastas visionários de documentários ao redor do mundo. Filmes submetidos deverão ser Estreias Mundiais ou Estreias Internacionais (filmes que não estrearam fora do seu pais de origem) e que deverão ter uma duração de 50 minutos ou mais. Filmes aceitos são elegíveis para prêmios do júri e o prêmio popular.
Entre os filmes estréiados na competição desde a primeria edição em 2005: Man on Wire, Up the Yangtze, Grizzly Man, Senna, Manufactured Landscapes, Searching for Sugar Man, Bus 174, Black Power Mixtape, 5 Broken Cameras e Afghan Star.

Além da Competição, filmes internacionais são considerados para as seguintes seções:
Park City a Meia-noite (filmes de gêneros), Nova Fronteira (filmes experimentais) e Estreias (Estreias Mundiais de cineastas estabelecidos). Através dos anos, trabalhos internacionais aclamados como: Bloody Sunday, Whale Rider, Cronos, Motorcycle Diaries, Carne, Dead/Alive, Goodbye Lenin, Calvary, Cube, Zidane, Open Hearts, Haute Tension, Intacto, Shine, Time Crimes, Away from Her, Four Weddings and a Funeral, March of the Penguins e Run, Lola, Run surgiram a partir do festival.

Não são aceitos submissões abertas para a categoria Spotlight (filmes já estreados em outros festivais internacionais).

Não é necessário inscrever-se para uma seção específica. Somente indique se o filme é um Feature Narrativa internacional (INF) ou Feature Documentário Internacional (IDF).

Para submeter um filme siga o link

Svetovej filmovej súťaže , ktoré usporadúva Sundance , majú za cieľ objaviť nové filmy a nové hlasy z celého sveta .

Filmový festival Sundance si cení nezávislosti , kreativity a odvahy riskovať . Preto zohráva nezastupiteľnú úlohu v objavovaní začínajúcich medzinárodných talentov a ich prepájanie s publikom i profesionálov v Spojených štátoch .

Svetová súťaž hraného filmu uvádza výber nových snímok začínajúcich filmových tvorcov . Prihlásené filmy musia byť uvedené vo svetovej alebo medzinárodnej premiére ( jedná sa teda o filmy, ktoré doteraz neboli uvedené mimo krajiny svojho vzniku ) a premietacie čas musí byť aspoň 50 minút . Prijaté snímky usilujú o ceny poroty a divákov . Medzi filmy , ktoré mali premiéru v rámci súťaže , patrí od roku 2005 , kedy prvýkrát začala : Kráľovstvo zverstiev , Slúžka , Once , Morská víla , Okuliare , Škola života , Madeinusa , Syn Babylonu , O Cheiro do Ralo , Bronson , Ruská ruleta , Horská hliadka , Štyri slnka a Happy , Happy .

Svetová súťaž dokumentárneho filmu uvádza výber nových snímok nadaných dokumentaristov z celého sveta . Prihlásené filmy musia byť uvedené vo svetovej alebo medzinárodnej premiére ( jedná sa teda o filmy, ktoré doteraz neboli uvedené mimo krajiny svojho vzniku ) a premietacie čas musí byť aspoň 50 minút . Prijaté snímky usilujú o ceny poroty a divákov . Medzi filmy , ktoré mali premiéru v rámci súťaže , patrí od roku 2005 , kedy prvýkrát začala : Muž na lane , Up the Yangtze , Grizzly Man , Senna , Manufactured Landscapes , Pátranie po Sugar Manovi, Bus 174 , Black Power , Päť rozbitých kamier a Afghan Star .

Okrem hlavnej súťaže sú medzinárodné filmy posudzované v nasledujúcich sekciách : Park City at Midnight ( žánrové filmy ) , New Frontier ( experimentálne filmy ) a Premieres ( svetové premiéry renomovaných filmových tvorcov ) . Za uplynulé roky z festivalu vyšli diela svetového významu ako Krvavá nedeľa , Pán veľrýb , Stroj času , Motocyklové denníky , Carne , Dead / Alive , Good , bye Lenin ! , Calvary , Kocka , Zidane , portrét 21. storočia , Otvorená srdce , Noc s nabrúsenou britvou , Intacto , Žiara , Time Crimes , Ďaleko od nej , Štyri svadby a jeden pohreb , Putovanie tučniakov a Lola beží o život .

Neprijímame verejné prihlášky do kategórie Spotlight ( filmy , ktoré boli premietané na inom medzinárodnom festivale ) .

Nie je nutné hlásiť sa do určitej sekcie . Len uveďte , či sa jedná o film hraný , tj International Narrative Feature , skratka INF , alebo dokumentárny , tj International Documentary Feature , skratka IDF .

Na podanie prihlášky použite tento link.

உலகம் முழுவதிலும் இருந்து புதிய திரைப்படங்களையும் புதிய குரல்களையும் கண்டெடுப்பதே சன் டேன்ஸ் உலகத் திரைப்பட போட்டியின் நோக்கம்

சுதந்திரத்தையும், துணிகரமான புதிய முயற்சிகளையும், புதிய படைப்புகளையும், கண்டுபிடித்துக் கொண்டாடி பல நாடுகளில் உள்ள கலை ஆற்றலை மக்களிடம் கொண்டு சேர்ப்பது சன் டேன்ஸ் திரைப்பட விழாவின் முக்கிய பங்காகிறது.

World Cinema Dramatic Competition என்னும் போட்டி புதிய சினிமா படைப்பாளிகளின் படங்களை முன்னிறுத்துகிறது. அனுப்பப்பட்ட திரைப்படங்கள் எந்த நாட்டில் தயாரிக்கப் பட்டதோ அந்த நாட்டைத் தவிர வேறு எந்த நாட்டிலும் திரையிடப் படாமல் இருந்திருக்க வேண்டும். முதல் முறை வெளி நாடுகளில் திரையிடுவனவாக இருக்க வேண்டும். படம் ஓடும் நேரம் 50நிமிடங்கள் அல்லது அதற்கு மேலாக இருக்க வேண்டும். போட்டியில் பங்கு பெற எடுத்துக் கொண்ட படங்களுக்கு jury prizes and an audience award இரண்டும் கிடைக்க வாய்ப்புள்ளது. இந்தப் போட்டி தொடங்கியது 2005ஆம் ஆண்டு. அது முதல் இந்தப் போட்டியில் கலந்து கொண்டப் படங்கள் : Animal Kingdom, The Maid, Once, Mermaid, Megane, An Education, Madeinusa, Son of Babylon, Drained, Bronson, 13 Tzameti, Kekexili: Mountain Patrol, Liar’s Dice, Peepli Live and Happy, Happy

World Cinema Documentary Competition என்னும் போட்டி தொலைநோக்குப் பார்வையுடன் இயக்கிய படங்களை முன்னிறுத்துகிறது.அனுப்பப்படும் திரைப்படங்கள் எந்த நாட்டில் தயாரிக்கப் பட்டதோ அந்த நாட்டைத் தவிர வேறு எந்த நாட்டிலும் திரையிடப் படாமல் இருந்திருக்க வேண்டும். முதல் முறை வெளி நாடுகளில் திரையிடுவனவாக இருக்க வேண்டும். படம் ஓடும் நேரம் 50நிமிடங்கள் அல்லது அதற்கு மேலாக இருக்க வேண்டும். போட்டியில் பங்கு பெற எடுத்துக் கொண்ட படங்களுக்கு jury prizes and an audience award இரண்டும் கிடைக்க வாய்ப்புள்ளது. இந்தப் போட்டி தொடங்கியது 2005ஆம் ஆண்டு. அது முதல் இந்தப் போட்டியில் கலந்து கொண்டப் படங்கள் : Man on Wire, Up the Yangtze, Grizzly Man, Senna, Manufactured Landscapes, Searching for Sugar Man, Bus 174, Black Power Mixtape, The Bengali Detective, 5 Broken Cameras and Afghan Star.

இந்தப் போட்டியுடன் கூட இங்கு சமர்ப்பிக்கப் படும் திரைப் படங்கள் வேறு பல தலைப்புகளிலும் பரிசீலிக்கப் படும் அவை :Park City at Midnight (பொதுவான ஜானர்), New Frontier (புதிய முயற்சிகள்) and Premieres (உலகத் தரம் வாய்ந்த தயாரிப்பாளர்கள்/இயக்குனர்களின் உலகத்தில் முதன் முறையாகத் திரையிடப்படும் வாய்ப்பு.). இத்தனைக் காலமாக சிறப்பு வாய்ந்த படைப்புகளான இவை Bloody Sunday, Whale Rider, Cronos, Motorcycle Diaries, Carne, Dead/Alive, Goodbye Lenin, Calvary, Cube, Zidane, Open Hearts, Haute Tension, Intacto, Shine, Time Crimes, Away from Her, Four Weddings and a Funeral, March of the Penguins and Run, Lola, Run இந்த விழாவில் இருந்து வெளிவந்திருக்கிறது.

வேறு திரைப்பட விழாக்களில் திரையிடப்பட்ட திரைப்படங்களை நாங்கள் spotlight categoryக்கு ஏற்றுக் கொள்வதில்லை.

எந்தத் துரையின் கீழ் படத்தை அனுப்புகிறோம் என்று சொல்லத் தேவை இல்லை. படம் கதையை சொல்லும் படமா (International Narrative Feature (INF) ) அல்லது டாகுமெண்டரியா (International Documentary Feature (IDF). ) என்று குறிப்பிட்டால் போதும்.

படத்தை சப்மிட் செய்ய இந்த லிங்கை பாலோ செய்யவும்.

John Cooper has been a member of the Sundance Film Festival programming staff since 1989 and assumed the role of Festival Director in April of 2009 after serving as the Director of Programming since 2003.

His early work in theater, ranging from performance to design, took him to New York City. By chance, he volunteered at the Institute's Summer Labs in 1989 and fell in love with the process and energy of Sundance. He returned to California to become part of the Festival programming team, which at that time consisted of two people. In the Festival's early years, Cooper created the short film program and quickly transitioned into programming documentaries and feature films.

As Festival Director, he oversees creative direction of the Festival as well as its ventures in London, Hong Kong and Los Angeles. He previously led the development of the Institute's online presence, which garnered two Webby Awards. More recently, he worked to create IGNITE, a program to nurture a new generation of filmmakers and independent film enthusiasts ages 18 to 24.

Cooper has been a guest curator and juror at major film festivals around the world. From 1995-1998 he was the Programming Director of Outfest and served on its Board of Directors until 2002.

“In 1989, I was 17 and living in Salt Lake City when I drove my '79 Subaru Brat up the snowy canyon to Park City to experience Sundance for the first time. It truly felt like I'd gone to Oz. I’d found a magical place that would change my life forever. The films I saw and the people I met guided me down the yellow brick road towards programming for Sundance. I have the privilege of watching independent films and documentaries made by filmmakers all over the world, and for ten days every January, I go back to Oz to celebrate them with other film fanatics.”

As Director of Programming for the Sundance Film Festival, Trevor Groth supervises the programming staff, collaborates with the Director of the Festival on strategic planning, and oversees the selection process for films and jury members. He also programs film and music for Institute programs such as NEXT FEST and Sundance London.

Groth’s first job in film was as a development assistant for the Sundance Institute in 1992. He joined the programming staff a year later and has worked there ever since. During that time, along with programming at Sundance, he has been a consultant for numerous international festivals and film organizations including Artisan Entertainment, Australian Film Institute, IFILM and the Off-Plus Camera Film Festival in Krakow. From 2001-2009 he served as Artistic Director for the CineVegas Film Festival. Working closely with Dennis Hopper, who was Chair of the Creative Advisory Board, he shaped the festival into one of the most distinctive and “dangerous” film festivals in the world. In 2009 he was one of ten festival directors asked to contribute to the Phaidon Press publication Take 100: The Future of Film: 100 New Directors.

Groth graduated from the University of Utah with a BA in Telecommunications and Film.

“When I see a new film that rocks my world-- something groundbreaking, something extraordinary from a filmmaker that I had never heard of before, it makes me sit up and remember… yes, yes, yes, this is why I do this.”

Like each of the Feature Programmers, David is involved with selecting films across all Festival programs, but his focus is on U.S. and International documentaries. He is also the writer and producer of the Sundance Awards Ceremony and oversees Public Programming for all Institute programs throughout the year.

David started his career at Sundance in 2000 as a Documentary Screener and advanced from there. He is the former Co-Director of Programming at Outfest, Los Angeles’ LGBT Film Festival. Prior to that, David worked in film development for a number of production companies. He has served on the Advisory Board for IFP and on the nominating committee for the IDA Awards, the Cinema Eye Honors and the Gotham Awards. A native of Buffalo, NY, David graduated from Columbia University with degrees in English and Theatre.

“Stories work in deep, sensuous, biochemical ways and define how we see ourselves, how we see the world, and how we imagine our future. I love storytellers who push me beyond what I know and encourage me to see differently.”

Shari joined the programming team in 1998 and currently focuses on American and World Cinema dramatic features, as well as films that experiment and push the boundaries of conventional storytelling. She is also the curator and driving creative force behind New Frontier at Sundance, a program highlighting work that expands cinema culture through the convergence of film, art and new media technology.

As Co-Director of Programming for Outfest from 1998-2001, she founded the Platinum section, which introduced cinematic installation and performance to the festival. From 1993-1996, Frilot served as Festival Director of MIX: The New York Experimental Lesbian & Gay Film Festival. During that time, she also co-founded the first gay Latin American film festivals, MIX BRASIL and MIX MÉXICO. Shari is a filmmaker and recipient of multiple grants from institutions including the Ford Foundation and the Rockefeller Media Arts Foundation. She is a graduate of Harvard/Radcliffe & the Whitney Museum Independent Study Program.

“We never go into the season knowing what we’re looking for. We like to measure films against themselves rather than some objective standard that doesn’t exist anyway. In other words, is this film achieving what it set out to do, on its own terms?”

Since 2001, Caroline has been programming for the Sundance Film Festival, where she selects feature films in all sections, focusing on documentary and World Cinema. She spearheaded the creation of the World Cinema competition sections at the Festival, and currently oversees the industry meetings program for international filmmakers. Libresco also serves as Director of Special Programs for the Institute, where she oversees programs such as Film Forward, Catalyst Weekend, and the Sundance Women’s Initiative.

Prior to joining Sundance, Caroline worked at ITVS, San Francisco International Film Festival, and San Francisco Jewish Film Festival. She is a consultant to Harvard Kennedy School, Hot Docs, and Zurich Film Festival, serves on the board for Women Make Movies, and mentors in Film Independent’s documentary labs. Her producing/writing credits include Sunset Story, Fanci’s Persuasion, and American Revolutionary. Caroline holds an M.A. in History of Religion from Harvard and an M.F.A. from UCLA Film School.

“If you scan the history of American film looking for a place that offers creative filmmakers the freedom to innovate the aesthetic, explore complex ideas, deepen our understanding of people and push storytelling in a way that’s provocative and inspiring… that place is independent cinema, and that’s what makes it such a great place to live.”

John deals primarily with programming feature films for the Festival’s World Cinema and U.S. Dramatic categories. He also programs the Offscreen series of panels and conversations at the Festival, which he has done since joining the Sundance team in 2001. He also heads up the Sundance Collection at UCLA, a groundbreaking archive that exists to protect, preserve, and restore past works of independent film.

After growing up in Europe and the United States, John studied history at Carleton College and was a graduate student in UCLA’s Film Directing program, where he made several award-winning short films and lobbied tirelessly for better coffee in the vending machines. Having found production work somewhat disenchanting, he attended his first Sundance Film Festival in 1996 and found its energy infectious. He has been to every festival since.

“Honestly, if it wasn’t my job to watch films for Sundance, I’d still spend all my free time watching the same movies. It’s a blurry line between my professional responsibilities and my personal obsessions.”

Charlie started working with the Sundance Film Festival in 2009 as the assistant to the Director of Programming. He now focuses on programming the NEXT and Midnight sections of the Festival and oversees the slotting process for all Festival screenings. Additionally, Charlie programs film and music for Institute programs such as NEXT FEST and Sundance London.

Prior to Sundance, Charlie worked in the film department at Entertainment Tonight, marketing at Tartan Films U.S.A, his mom’s picture frame gallery, and acquisitions at Paramount Vantage. He moved to Southern California in 2001 from Dallas, TX to study at the University of Southern California’s School of Cinematic Arts.

“It’s a huge feat of creativity, thinking, collaboration, and endurance to make a film. That’s why we take a positive approach to each movie we look at, always seeking out the person on our team who will most resonate with and find passion for a particular film.”

Kim Yutani focuses on U.S. and World Cinema dramatic features for the Sundance Film Festival. She also oversees Short Film programming for the Festival, and has been a Shorts Programmer since 2006. In addition to her work at Sundance, Kim is the Artistic Director for Outfest Los Angeles, one of the world’s leading events for LGBT cinema. For five years, she was the Director of Programming at Outfest, where she oversaw the programs at Outfest Los Angeles, Outfest Fusion, and the Outfest Screenwriting Lab. She has previously been a reader for Creative Capital and served on the nominating committee for the Cinema Eye Honors.

Prior to her film festival work, Kim was a film critic and freelance journalist focusing on independent film. She attended her first Sundance Film Festival in 1995 after working as an assistant on Gregg Araki’s The Doom Generation.

"I love programming film for the same reason I love any kind of art-- It lets you do the impossible: spend some time in someone else's head. That's especially true for documentary. The best thing about it is that film, when it’s done well, reminds you of the beauty that exists in life, which is often right under your nose and you might not even have known it."

Hussain joined the Sundance programming team in 2014, specializing in documentary feature films. He was previously the Director of Programming for the Sheffield Doc/Fest in the UK and has worked in international fiction and documentary programming for some of Australia's most highly-regarded film events, including the Adelaide and Melbourne film festivals.

Upon graduation from the Victorian College of Art in 2002, Hussain founded a touring short film festival and began curating film programs for the Australian Centre for the Moving Image. He has a B.A. in film from Curtin University and has written and directed 8 short films, many of which have played at film festivals around the world. Born in Canada, he has spent time living and working in Australia, Japan, The Netherlands, and the UK.

Heidi has been contributing to various Sundance Institute programs for over a decade, beginning with the International arm of the Institute’s Feature Film Program. In 2010, she was hired as Coordinator for the Festival’s World Cinema program and began serving as an Associate Programmer for the Festival in 2012, focusing mainly on international feature films. Additionally, Heidi has been a Programmer at Palm Springs International Shortfest since 2011. She also manages the Sundance Collection at UCLA. Originally from the north shore of Boston, she has a degree in English from University of Massachusetts, Dartmouth and an M.A. in Critical Studies of Film and Television from UCLA.

Now in his 12th year at Sundance, Adam oversees the viewing and selection process for the 13,000 film submissions that the Festival receives annually, ensuring that each film submitted is watched and given its due consideration. Additionally, he lends his passion for cult and genre filmmaking to the programming of the Festival’s Midnight section, electing to spend the majority of his nights engrossed in all varieties of horror, thrillers, and off-color comedies. Prior to joining the Institute, he spent five years in television development, most recently at Imagine Entertainment, where he worked on shows such as Arrested Development and 24. He is a firm believer that filmmakers are under no obligation to stick to any previously-established rules with regards to zombies, vampires, werewolves or Frankenstein.

Harry is an Associate Programmer specializing in the Festival’s documentary programs. He interned for the International arm of the Sundance Institute’s Feature Film Program from 2011-2012 and became a screener for the Festival in 2012. Harry is also a Senior Programmer at Outfest Los Angeles LGBT Film Festival and has also programmed and coordinated for Outfest’s Fusion Film Festival and NewFest: New York's LGBT Film Festival. He holds a Masters in Arts Journalism from the University of Southern California as well as a BFA from Emerson College in Boston.

Mike has worked with film festivals since 1993 and at Sundance since 2001. He was a Short Film Programmer from 2003 until 2006, and got back into the shorts saddle in 2011, heading up the Shorts programming team. On weekends he makes films and does podcasts and film distribution under his Cinemad banner.

Joining us as Shorts Programmer in 2013, Dilcia Barrera began as a programming intern for Sundance in 2007. She currently programs film events for Film Independent at LACMA, and has served as a programmer at festivals such as AFI FEST, the Los Angeles Film Festival, and the Philadelphia Film Festival. A Los Angeles native, Dilcia has a Spanish/Portuguese Literature degree from UCLA.

Emily joined the Sundance team in 2010. She counts documentaries, female-driven films, and hand-drawn animation among her favorites. A native of Massachusetts, Emily attended Kenyon College in Ohio before settling in San Francisco. She also works in youth education at SFIFF and previously was an editor at Wholphin DVD.

Ernesto joined the Sundance Shorts Programming team in 2010. Born in the Philippines, he immigrated to the U.S. at an early age. He received film degrees from UCLA (BA) and Columbia University (MFA). He has written, directed and produced a handful of shorts and features that have played in film festivals worldwide.

Jon has been a Shorts Programmer for the Sundance Film Festival since 2009. He is also a writer at Eleven, Inc in San Francisco. Previously, Jon was a Shorts Programmer at Outfest, an Associate Programmer at AFI FEST, and an Associate Creative Producer for CineVegas. He is the Co-Creator of the Echo Park Time Travel Mart and a Jeopardy! champion.

Katie Metcalfe has been with Sundance since 2010 and previously worked with short film distribution label Future Shorts in Europe. Based somewhere between New York and London, while not programming shorts, she produces cinematic events for Secret Cinema and more recently helped Vimeo produce their Festival + Awards in New York.

Lisa has been part of the Sundance shorts programming team since 2009. Currently the Manager of Membership & Events for BAFTA Los Angeles, she previously served as Panels Programmer for the American Pavilion at the Cannes Film Festival. Lisa first came to Sundance as a volunteer in 2006, and has garnered extensive festival experience working with Sundance in various capacities over the years.

Adam joined the shorts programming team in 2014. He is also the Manager of Sundance Institute’s Native American and Indigenous Program and a graduate of the University of Southern California’s School of Cinematic Arts and California College of the Arts’ MBA program for Design Strategy.

Having previously worked at numerous film festivals, Landon joined Sundance’s programming staff in 2008 as programming coordinator, becoming a member of the shorts programming team in 2011. He is the Programming Director of the Stanley Film Festival and also programs films for AFI FEST and The Los Angeles Film Festival. Landon directed two short films that together have played at more than 60 festivals around the world.

In cooperation with Sundance Institute, the Art House Convergence began six years ago as a means for independent art house operators to gather together to address common challenges. The eighth annual Art House Convergence, the only yearly meeting of independent art house owners and operators in the U.S. and Canada, will be held January 19-22 2015, in Midway, Utah. Click here to learn more about the Art House Convergence.

BAM, New York, NY
Belcourt Theatre, Nashville, TN
Broadway Centre Cinemas, Salt Lake City, UT
Coolidge Corner Theatre, Brookline, MA
Enzian Theater, Orlando, FL
Hollywood Theatre, Portland, OR
International Film Series, Boulder, CO
Jacob Burns Film Center, Pleasantville, NY
The Loft, Tucson, AZ
Michigan Theater, Ann Arbor, MI
The Music Box, Chicago, IL
Oklahoma City Museum of Art, Oklahoma City, OK
The Palm, San Luis Obispo, CA
Pickford Cinema, Bellingham, WA
Rafael Film Center, San Rafael, CA
Ragtag Cinema, Columbia, MO
Railroad Square Cinema, Waterville, ME

The Official Catalog of the Sundance Film Festival is a four-color 300-page commemorative piece featuring film descriptions and highlights from Sundance Institute and Sundance Film Festival programming. 9,500 copies are distributed to key constituents including Industry, Pass and Ticket Holders, and Patron Circle members. This publication is also sold at our merchandise stores and online.

Ad space in the Festival Catalog is available for purchase. For more information, including rates, specs, and deadlines, contact Steve Chidel of Faircount Media Group at 813-675-3816 or steve.chidel@faircount.com.

For additional branding opportunities visit our Corporate Support page.

Ad Specifications
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Size with Bleed: 8.5 x 10.5"
Live Area: 7.25 x 9.375"
Gutter Safety Full Page: .5"
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Ad Requirements
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Include Bleeds
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CMYK process colors only
Outlined fonts

A system of walking paths throughout Park City takes you between Festival venues so you can save precious energy spent fighting traffic--or hop on the free Festival shuttle bus.

You can easily recycle your aluminum, plastic, glass, and paper at even more recycling bins this year at all of our theatres, venues, and shuttle stops, and throughout Park City.

Sundance Film Festival is committed to reducing waste and keeping you hydrated in Park City’s high altitude. Be sure to bring your own reusable water bottle and fill up at one of the hydration stations, marked by blue water drops on Festival transit maps. Remember, you need to drink more water at high altitude, so aim to refill six to eight times per day to acclimate to the elevation.

To help conserve energy, remember to lower the thermostat and turn off the lights when leaving your Festival accommodations.

Sundance Film Festival merchandise is repurposed, recycled, or reusable. In an effort to minimize our carbon footprint, we strive to support domestic manufacturers.

Sundance Institute works to make each of its venues physically accessible for all Festivalgoers. All Festival venues and theatres are ADA accessible. Filmmaker Lodge, housed in the Historic Elks Building, has access to a Stair-Trac that meets ADA requirements. Advanced notice is recommended in order for us to provide the best possible service. For more information, contact Sundance Institute at (435) 658-3456 or email us at ADA@sundance.org. All screenings have accessible seats. So we can further assist you, you may opt to call Customer Service at (888) 285-7790 or (435) 776-7878, or email ADA@sundance.org with your schedule and we will contact theatre personnel in advance of your arrival.

Limited accessibility parking is available at theatres and venues.

Park City Transit and Park City Festival shuttle buses are ADA accessible, and drivers are trained to assist those with disabilities. Park City Transit also offers door-to-door paratransit service for passengers who are unable to use the fixed-route service. Guests requiring this service must apply at least two weeks prior to the Festival.

For further information about paratransit service and for an ADA Eligibility Application, contact Park City's paratransit certification office, Monday-Friday, 8:00 a.m. to 5:00 p.m. at (435) 615-5353 or TTY: (435) 615-7041.

Don't let a disability keep you from enjoying the Sundance Film Festival and all that goes on around it. Park City is home to one of the world's foremost adaptive recreation centers, the National Ability Center (NAC). The NAC provides recreational opportunities year-round for individuals with physical or cognitive disabilities. During the Festival, you can enjoy great opportunities like adaptive skiing & snowboarding, sled hockey, horseback riding (including Hippotherapy), and indoor rock climbing. The NAC hosts more than 8,000 people annually at its Park City facility, and you can make your Festival experience that much more enjoyable by participating with the NAC while you're in town. Watch an independent film, then prove your own independence. It's a perfect match. The NAC also has limited lodging availability for individuals with disabilities during the Festival and throughout the year. For more information about the recreational programs or lodging availability, call the National Ability Center at (435) 649-3991 or visit DiscoverNac.org.