Since I haven't yet gained my composure enough to discuss the actual experience of the 1995 Sundance Film Festival I'll just talk about the films that I saw.
Keep in mind that I only got there on Thursday so I missed more than half of the festival already and I managed to miss any of the films that won prizes: some of the films I saw weren't even in the competition.
The first day there I made my way to the Prospector Theater to see Coldblooded. The first thing you need to know is that Coldblooded is a very good, very funny movie. The reason I need to preface any discussion of the film's greatness first and foremost is because it's a black comedy about an up and coming hitman starring Jason Priestly in the title role. Just let your mind wander from Brandon and Dillon and the producer's daughter for a moment. I know that this is risky — starting off this article with this statement — but Jason Priestly was good as the Gumpesque hitman.
Fine, don't believe me. This isn't some kind of Film Threat come on. I didn't get any money, t-shirts, hand jobs or a look behind the scenes in order to write a positive review. (I don't think we'll ever run a cover story about Carnosaur). When the film's released you'll probably still be in your stupid denial state and you'll miss it on the big screen. And then, one day, your housemate will rent it or it will be on cable and you'll realize, "aw, shit, what was I thinking? Why was I so rigid? Why couldn't I just try to see past Beverly Hills 90210 like that kind man in Cashiers du Cinemart told me to do?" Far be it from me to keep you from your destiny. Coldblooded is a wacky movie about a fairly simple kid who is promoted to the position of hitman when his boss is replaced by an underling. The jokes start rilling in when the kid and his mentor find out that this kid is not only good at being a hitman, he's a natural. Of course, there's a love interest and problems arise, but the humor is never compromised and Priestly pulls off the performance.
The one film I was looking forward to the most at Sundance was Nick Gomez's New Jersey Drive, the follow-up to his brilliant Laws of Gravity. Well, I must admit that I was not disappointed. The film revolves around a kid who is part of a gang that steals at least a car a day while skipping school. They are, of course, lost in the world with no chance of escaping to anywhere other than jail.
The film does begin a little shaky but then slams into its groove right after the first major car chase. Gomez uses many of the same techniques he employed in Laws and they are more than adequate here. Most of the people I attended the film with thought that it was ultimately pointless with no sign of hope and nothing to say. They are right in that the film has no point, but they miss the fact that lack of point is the point. I won't launch into a debate or compare it to Charles Koller's WCBN experiences — just see the film when it comes out.
Once Were Warriors — this film's greatness just walks right up to you and says, "hey, mother fucker, just sit down and watch." And you do and it kicks your ass.
A dysfunctional family in New Zealand is the focus of the film. The family is already in hell when the movie begins and the father brings them to a new level as he slowly devolves into the monster he was always destined to become. Even the credit sequence blew me away.
And the Winners were —
Dramatic Film Grand Prize: The Brothers McMullen
Documentary Grand Prize: Crumb
Audience Award: Picture Bride
Audience Award, Documentary: Ballot Measure 9 and Unzipped
Dramatic Filmmakers Trophy: Angela
Documentary Filmmakers Trophy: Black Is... Black Ain't
And I saw none of them. Hopefully next year I'll be able to see all the movies — yeah, right.