Once a year, filmmakers, film lovers and celebrity gawkers flock to Park City, Utah, for two weeks. The Sundance Film Festival, which focuses on independent films and their creators, brings together unknowns and the established, the struggling and the investors, great ideas and great developers. Originally founded by the very rustic Robert Redford, the Sundance Institute and its festival continue to exude that homegrown, bucolic essence, allowing for experimentation, originality and groundbreaking art. The fest is beginning this week, running January 20-30. more ›

The last film we caught at the festival was The Visitor, written and directed by Tom McCarthy, best known for his 2003 Sundance darling The Station Agent. Like the previous film, McCarthy's sophomore piece is a well-crafted work about how people from disparate backgrounds can come together and form an unconventional family. Walter Vale, an uptight widower and bored college econ professor, has totally shut down and withdrawn from everything in his life, but when he heads to NYC for a conference, he finds a young Muslim couple, Tarek and Zaineb, living in his usually-empty apartment. He takes pity on them and lets them stay, and a friendship develops--until Tarek becomes a victim of racial profiling and is sent to an immigrant detention center, and Walter decides to take responsibility for his new friends. The Visitor is such a quintessential indie picture: the cast, led by Richard Jenkins, is strong, the writing is elegant, and the cinematography is simple yet effective. Most importantly, the film doesn't beat you over the head with immigration issues or over-the-top commentary on the war on terror. The messages here are nuanced, and conveyed more through subtle camerawork than bloviated speechifying. Thank god. more ›

Among the best movies we've seen at this year's festival is Sugar crafted with care by Anna Boden and Ryan Fleck, the filmmaking team responsible for Half Nelson. The title refers to the nickname of our protagonist Miguel, a young Dominican hoping to make it big in baseball. When we first meet the twenty-year-old pitching dynamo, he's about to leave his homeland for a minor league farm team in small-town Iowa. Of course, he barely speaks a lick of English, and there's bound to be players better than him along the way. more ›

Absurdistan is an allegorically rich comedy care of witty German director Veit Helmer and filmed in the former Soviet republics of Georgia and Azerbaijan. In the tiny titular land, a war of the sexes break out when the local aqueduct ceases to work, and the men are too lazy to fix it. The women declare a strike--no water, no sex--and two childhood sweethearts find themselves feuding instead of consummating their long-standing love. Looks like it's up to the kids to fix the water pipe and get everybody laid. Helmer directs this charming, mostly dialogue-free little film with childlike wonder, with shades of Jeunet in his use of fanciful contraptions, like a gondola on pulleys flying over the town. more ›

And then there was Downloading Nancy. Whether you loved it or had serious issues with it (we fell into the latter camp), everyone agreed that the film is beyond "difficult" to watch. Deliberately so: loosely based on a true story, the topic is a wretched woman (Maria Bello, fearless as always), full of pain and desperate for a way out of her current situation. The film delves into Nancy's mental illness and the tenuous relationship that comes to exist between her husband (Rufus Sewell) and the new man in her life (Jason Patric). Downloading Nancy is provocative, and the violent images of cutting and other self-inflicted sadism caused quite a few audience members to walk out, some in tears. The entire film is bruised--master cinematographer Christopher Doyle provided sallow tones of yellow and blue. Sure, it's well-made, but with its dark tone and subject matter (and shades of misogyny), how exactly do you market such a downer? more ›

We had heard a lot of good buzz going into Sunshine Cleaning, starring the perpetually lovable and talented Amy Adams and the nearly as up-and-coming Emily Blunt as sisters who break into the lucrative niche growth industry of crime scene cleanup. Dealing with the literal blood, guts, and body fluids of the recently departed forces the ladies to examine some of the biohazards in their own lives. Wackiness and personal growth ensues. Unfortunately, the movie is good but not great, and the rest of the audience seemed to like it a lot more than we did. With a cute kid and Alan Arkin in tow as the sisters' crotchety dad, director Christine Jeffs is totally aiming for Little Miss Sunshine Cleaning, but with a wisp of a script and a couple overwrought scenes, this film ain't making it to the pageant. more ›