Noel Murray @ Sundance 2012: Day 0

For far too long, just about any public conversation about the Sundance Film Festival was primarily concerned with whether the fest had sold out. Had Sundance become all about swag lounges and viral marketing and extravagant multi-million dollar distribution deals handed out to mediocre middlebrow quirk-fests? Had the the premiere showcase for American independent film lost its “indie” cred?
Frankly, Sundance did go through a rough patch towards the end of the ‘90s indie boom, and I can’t pretend that my e-mail box right now isn’t teeming with invites to events sponsored by tech companies and clothing manufacturers and the like, most of which have nothing to do with movies. But I can’t be a cynic about Sundance. I can’t heave a sigh and roll my eyes and talk about how it’s not what it used to be. I’ve come to love this festival too much for that.
Yes, Sundance is a logistical nightmare at times, and bone-cold, and way too expensive, but for those of you sitting at home reading about the festival from afar, those kind of gripes are piddly. What do you care about how long a critic had to stand in line in the snow? What you’re interested in—I hope—is how good the movies are, and what you have to look forward to in the year ahead. And for the last few years, Sundance has been bringing the goods.
Before I start each festival, I like to look back at the previous year’s line-up to reflect on how good (or not-so-good) it was. In 2011, the Sundance schedule included The Future, Martha Marcy May Marlene, Bellflower, Take Shelter, Kaboom, Submarine, Being Elmo: A Puppeteer’s Journey, The Guard, The Interrupters, The Catechism Cataclysm, I Saw The Devil, Meek’s Cutoff, Hobo With A Shotgun, Senna, Win Win, Tyrannosaur, The Troll Hunter, Terri, Like Crazy, Another Earth and Margin Call. I didn’t see all those films here in Park City—nor did I like them all once I did see them—but they were all a significant part of the 2011 movie year, and part of a formidable festival overall.
This year features a new Brooklyn-set indie comedy from Spike Lee, new documentaries from Sundance regulars Kirby Dick, Eugene Jarecki, Stacey Peralta and Joe Berlinger, plus new movies from exciting young filmmakers Antonio (Afterschool) Campos, Craig (Great World Of Sound) Zobel and Quentin (Rubber) Dupieux, a feature film from cult comedians Tim & Eric, and a documentary about LCD Soundsystem’s last show. What I’m most excited about this year though are the large number of intriguing-sounding debut films, and that there are so few holdovers from last year’s Cannes and Toronto fests. (Though one TIFF film—the much-loved actioner The Raid—is one of my top “must-see”s here.) There are a lot of chances for real discoveries out there.
Both Nathan and I will be filing daily reports as usual, trying not to overlap too much (though there are always a few movies that we both want to see). And though the titles and the directors will be largely unknown on most days, I encourage film fans to pay at least some heed. A movie you’ve never heard of could turn out be one of 2012’s best. The critics’ screenings start tomorrow evening, but for Day Zero, I’ve got reviews of a couple of movies I watched via screener DVD, and one I saw at the Toronto film festival. I’d also point you to Scott Tobias’ review of Wuthering Heights, which he saw and loved in Toronto, but which I won’t be seeing at Sundance; and to Mike D’Angelo’s review of This Must Be The Place, which he liked at Cannes and which I will try to see. Check back at this same time tomorrow for more.
*****
About The Pink Sky
Director/Time: Keiichi Kobayashi, 113 min.
Cast: Ai Ikeda, Ena Koshino, Reiko Fujiwara, Tsubasa Tayakama, Hakusyu Togetsuan
Headline: Teen girl plays reporter to impress cute boy
Indie type: Coming-of-age, Japanese-style
Report: Proving that American independent filmmakers don’t have a monopoly on stylish films about quirky, free-spirited teens, writer-director Keeichi Kobayashi’s black-and-white teen comedy About The Pink Sky stars Ai Ikeda as an impulsive schoolgirl who works in a bowling alley and grades the stories in the newspaper based on how they make her feel. When Ikeda finds a wallet full of money and impulsively gives the cash to an older friend in need, she finds herself indebted to the wallet’s original owner: a rich, cute high school boy. He asks her to repay the debt by working with her friends to produce a cheerier newspaper. The plot of About The Pink Sky is a little programmatic; the movie doesn’t exactly follow an organic path to get to the point where Ikeda and her pals are traipsing around the city looking for scoops. Plus, the absence of any soundtrack—or color—limits the expressive quality on which these kinds of movies usually thrive. But Kobayashi gets vivid, largely natural-feeling performances from his young actors; he really seems to understand the wild mood swings of adolescents, who can be surly then giddy, and can ping-pong between fearlessness and painful embarrassment. There are too many scenes in About The Pink Sky that consists of little more than just kids hanging out, having conversations that blandly advance the story. But Ikeda has a winning presence, whether she’s earnestly photographing inanimate objects that look like faces or she’s pretending to be a shy housewife to fool the manager of a video-chat line into thinking she’s old enough to be an employee. Plus the film is gorgeous to look at, with softly textured black-and-white images that emphasize the characters while blurring the backgrounds, reflecting the self-centered worldview of a teen. It’s just too bad the script and tone of About The Pink Sky aren’t as engaging as its cast or its look.
Grade: B-
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