Indiewood/Hollywoodn’t film critic Jake Kring-Schreifels has been keeping a regular diary over the course of the 2020 Sundance Film Festival. In his third and final dispatch, Jake shares a range of musings along with seven film reviews. This article offers Jake’s take-away impressions of the festival in Park City, from streaming to shrieking. Jake begins his pondering with a report on The Last Thing He Wanted and Wendy, two Netflix made-for-streaming flicks. Then his experience is buoyed by Minari — an unexpected gem and evidence that festival surprises still exist. As he discusses Horse Girl and Lost Girls, Jake contemplates the importance of actors.. Finishing his week with Us Kids and The Night House, Jake is reminded that despite so many of these films’ online destinations, festivals still offer the thrill of a shared audience experience, sitting in the dark with strangers in a big theater.
Indiewood/Hollywoodn’t film critic Jake Kring-Schreifels is keeping a regular diary over the course of a week at the 2020 Sundance Film Festival, and this is his second dispatch. Jake’s giving our IndieNYC website a Sundance first-look, writing about the movies he’s seeing, his observations around Park City and the excitement surrounding another year of new independent cinema. Today’s report includes: Never Rarely Sometimes Always, Eliza Hittman’s new drama; Worth, a Michael Keaton-led legal procedural; Dream Horse, an uplifting racehorse saga; and Promising Young Woman, a feminist revenge thriller starring Carrie Mulligan. See which film Jake calls “the best thing I’ve seen at the festival.” (And look for some movie trailers at the end of this article.)
Indiewood/Hollywoodn’t film critic Jake Kring-Schreifels is keeping a regular diary over the course of a week at the 2020 Sundance Film Festival. He’s giving our IndieNYC website a Sundance first-look, writing about the movies he’s seeing, his observations around Park City and the excitement surrounding another year of new independent cinema. Check back to IndieNYC throughout the festival for his latest entries from Park City. Today’s report includes the new Taylor Swift documentary Miss Americana, Luxor from director Zeina Durr, La Llorona by Jayro Bustamente and Ironbark by Dominic Cooke.
Helen Highly Recommends what to see at DOC NYC 2019. Now that I’ve seen a few more films, I am updating and expanding my original DOC NYC 2019 Pick List. I am also explaining my bias and process in selecting which films to include in my list. Note that even after the festival ends, it’s still worth coming back to this list of film review and suggestions and to the DOC NYC 2019 website to find which films to see; they will be debuting in theaters and online throughout the coming year.
DOC NYC 2019 will run from November 6 – 15 and include more than 300 films and events, with 28 world premieres and 27 US premieres. Films are curated into 21 different Sections, or categories. It’s an overwhelming amount of content to contemplate, and I’ll do my best to help you sort through it. I would have liked to offer a catchy headline such as “Top Ten Docs to See,” but ten barely scratches the surface. Even twenty seems to leave out films that warrant a mention. So… without counting, here are the films that Helen feels Highly Compelled to suggest — my DOC NYC Picks, or DOC NYC Highlights.
NYFF2019 Director and Selection Committee Chair Kent Jones said, “Cinema is the domain of freedom, and it’s an ongoing struggle to maintain that freedom. It’s getting harder and harder for anyone to make films of real ambition anywhere in this world. Each and every movie in this lineup, big or small, whether it’s made in Italy or Senegal or New York City, is the result of artists behind the camera fighting on multiple fronts to realize a vision and create something new in the world. That includes masters like Martin Scorsese and Pedro Almodóvar and younger filmmakers coming to the festival for the first time like Mati Diop and Angela Schanelec.” The 57th NYFF has announced its Main Slate lineup.