Are we inside a genre revolution? Lately the amount of content hitting screens that features either a modest nod or full-fledged over-the-top bow to genre is simply overwhelming. ANOTHER EARTH is indie-drama-with-a-side-of-sci-fi. MARTHA MARCY MAY MARLENE is indie-drama-with-a-touch-of-thriller. WE NEED TO TALK ABOUT KEVIN, the highly anticipated third feature from Lynn Ramsay, is indie-drama-experimental-fantasy. Yep, that’s right, on the surface it’s about raising a child who turns out to be a Columbine-like murderer, but in reality, I hear, it exists as a true art film. Lead actress Tilda Swinton said in last Sunday’s New York Times Magazine that the film is “a fantasy that has as much to do with the practical business of bringing up a child as ROSEMARY’S BABY has to do with being pregnant.”
It’s kind of puzzling to me that ANOTHER EARTH is billed as a science fiction/fantasy/drama. The story of Rhoda (Brit Marling), a young woman who kills a man’s wife and child in a car accident and then tries to atone for her mistake, is more like a quietly played drama set against a backdrop of space travel to a second, identical planet Earth. Still, it’s that backdrop as well as the film’s deftly handled inclusion of the complicated physics and math involved in the exciting multiuniverse theory that made it a shoe-in for the Alfred P. Sloan Feature Film Prize at Sundance earlier this year. And all science aside, the muted way the film portrays the moral dilemma Rhoda is faced with made it an only all too worthy winner of the festival’s Special Jury Prize as well.
Article: Sundance 2011 = Officially Over
(Photo by Chelsea Lauren/Getty Images)
It’s been a long week—exhilarating, grueling, and never, ever dull—but Sundance 2011 is officially over. The stars, the studio executives, and the filmmakers have all packed up their North Face gear and headed home, wherever that may be.
Looking back on the last several days, there were some amazing, quintessentially Sundance-ian moments. We got to meet Robert Redford! We got to talk to young, idealistic, and extremely talented new artists (Brit Marling, Mike Cahill, for instance) whom we will certainly be hearing more from, and who are a reminder of Sundance’s real purpose (beyond an excuse to see a lot of great movies in the middle of a snowy paradise). As Marling told us, just following the premiere of ANOTHER EARTH, “I feel so lucky to be a part of this. Sundance is bringing together all these people and you know, brings them all into this little, this tiny town in the middle of the snow, and everyone can just talk and revel in ideas and make them into realities. It’s pretty awesome.”
Lots of critics are scrambling to tell you which films are poised for success following the Sundance Film Festival this year. Deadline.com’s Nikki Finke has compiled a list of heretofore under-the-radar directors whose names you might hear a lot more often from now on. On the list: ANOTHER EARTH director Mike Cahill; Paddy Considine, whose…
The Sundance Film Festival deal-making continues. Recent acquisitions: IFC Films has nabbed the North American rights to director David Mackenzie’s romantic thriller PERFECT SENSE, starring Ewan McGregor and Eva Green, which debuted at the festival in the Premieres section on Monday night. (Just announced; see trailer below) The Weinstein Company has picked up the worldwide…
Brit Marling (Photo credit: Yvan Rodic / Face Hunter)
An economics major and an internship at Goldman Sachs as the path to Sundance? For Brit Marling, who stars and co-wrote not one but two films premiering here (ANOTHER EARTH and SOUND OF MY VOICE), and who’s been tagged as one of this year’s “It” girls
Just a few summers ago, the blonde, ethereal actress was studying economics at Georgetown University, which led to a summer on Wall Street. This led to disillusionment, which led to dropping out of school and moving to Cuba. Which led to making a documentary (BOXERS AND BALLERINAS) with a friend from school. Which led to going back to school, graduating, and moving to LA. Which led to more disillusionment.
“The things I would go read for, as a young, unknown actor, were pretty awful,” Marling said yesterday, curled up on a sofa, wearing a clingy floral dress and leather boots. “And people keep telling you, ‘Just do this stuff,’ this, like, horror film where you’re the girl in the bikini running from the man with the axe.”