The Sundance Institute unveiled the lineup of 53 short films for the 2024 Sundance Film Festival, taking place Jan. 18-28 in Park City and Salt Lake City, Utah. The film fest will happen in person, with a selection of titles available online from Jan. 25-28. Sundance was forced to re-format its 2021 and 2022 editions as virtual events because of the pandemic, but it returned in physical form in 2023.
Celebrating its 40th edition, Sundance will also feature a slate of special screenings including a restored version of “Napoleon Dynamite,” which first premiered at the festival in 2004, as well as 2014’s “The Babadook” and 1984’s “The Times of Harvey Milk.” Festival programming also includes events with Richard Linklater, Miguel Arteta, Jay Duplass, Mark Duplass, Carlos López Estrada, Sterlin Harjo, Steve James, Dawn Porter, Nzingha Stewart and Christine Vachon.
“Selecting the shorts for the Festival Program every year is an exercise in taking the pulse of film culture,...
Celebrating its 40th edition, Sundance will also feature a slate of special screenings including a restored version of “Napoleon Dynamite,” which first premiered at the festival in 2004, as well as 2014’s “The Babadook” and 1984’s “The Times of Harvey Milk.” Festival programming also includes events with Richard Linklater, Miguel Arteta, Jay Duplass, Mark Duplass, Carlos López Estrada, Sterlin Harjo, Steve James, Dawn Porter, Nzingha Stewart and Christine Vachon.
“Selecting the shorts for the Festival Program every year is an exercise in taking the pulse of film culture,...
- 12/12/2023
- by Ethan Shanfeld
- Variety Film + TV
The 2024 Sundance lineup is coming into fuller view, including celebrations for its 40th edition and its shorts program. The festival will take place January 18 through 28 in-person in Park City and Salt Lake City, with a selection of titles available online nationwide from January 25 through 28 via digital platforms.
The festival will introduce new short films for 2024 across eight curated programs, including a festival retrospective hosted by Mark and Jay Duplass. This year’s programming for new titles features 53 short films selected from 12,098 submissions, the highest number on record. Of these submissions, 5,323 were from the U.S., and 6,799 were international. The selected shorts represent 22 countries.
In addition to the shorts programming, the special 40th edition celebration screenings and events kick off on January 23, bringing Sundance alumni together for conversations and gatherings while revisiting iconic films like new 4K restorations of “Napoleon Dynamite” for its 20th anniversary, the 25th anniversary of “Three Seasons,...
The festival will introduce new short films for 2024 across eight curated programs, including a festival retrospective hosted by Mark and Jay Duplass. This year’s programming for new titles features 53 short films selected from 12,098 submissions, the highest number on record. Of these submissions, 5,323 were from the U.S., and 6,799 were international. The selected shorts represent 22 countries.
In addition to the shorts programming, the special 40th edition celebration screenings and events kick off on January 23, bringing Sundance alumni together for conversations and gatherings while revisiting iconic films like new 4K restorations of “Napoleon Dynamite” for its 20th anniversary, the 25th anniversary of “Three Seasons,...
- 12/12/2023
- by Samantha Bergeson
- Indiewire
The Arrowverse fandom was rattled last month when it was announced that Ruby Rose was exiting Batwoman following the conclusion of its first season, meaning the show will have to find a new leading actress for its sophomore year and beyond. We originally expected this to mean someone else would be playing Kate Kane. However, the latest reports have revealed the plan is to actually bring in a completely different character named “Ryan Wilder,” which is possibly an alias.
This is a surprising move, as it presents the production team with a huge extra challenge on top of ensuring a smooth transition of stars, as they’ve now got to come up with a reason why Kate leaves the show, too. Obviously, this wasn’t where the writers thought they were headed, but there are actually a few avenues they could take for this that have been set up in...
This is a surprising move, as it presents the production team with a huge extra challenge on top of ensuring a smooth transition of stars, as they’ve now got to come up with a reason why Kate leaves the show, too. Obviously, this wasn’t where the writers thought they were headed, but there are actually a few avenues they could take for this that have been set up in...
- 6/5/2020
- by Christian Bone
- We Got This Covered
Delia Harrington Oct 7, 2019
Batwoman episode 1 pays tribute to DC Comics history constantly, in ways big and small. Here's all the easter eggs we found...
This article contains nothing but spoilers through the most recent episode of Batwoman. We have a spoiler free review here.
With her new show, Batwoman steps into not only the CW's Arrowverse legacy, but the decades-long cross-media Batman franchise that has touched just about every aspect of American pop culture, and the show knows it. Kate Kane has only been around since 2006, but she's had a strong history of her own in that time, not to mention joining the Batfamily (or Batman Inc. if you prefer) on plenty of adventures, many of which are referenced on the show.
Here’s how this works. For each episode, we're trying to find every single Batwoman, Batman, Arrowverse and DC reference packed into the show. But there’s...
Batwoman episode 1 pays tribute to DC Comics history constantly, in ways big and small. Here's all the easter eggs we found...
This article contains nothing but spoilers through the most recent episode of Batwoman. We have a spoiler free review here.
With her new show, Batwoman steps into not only the CW's Arrowverse legacy, but the decades-long cross-media Batman franchise that has touched just about every aspect of American pop culture, and the show knows it. Kate Kane has only been around since 2006, but she's had a strong history of her own in that time, not to mention joining the Batfamily (or Batman Inc. if you prefer) on plenty of adventures, many of which are referenced on the show.
Here’s how this works. For each episode, we're trying to find every single Batwoman, Batman, Arrowverse and DC reference packed into the show. But there’s...
- 10/5/2019
- Den of Geek
Things aren’t looking good over in Batman Eternal. Not for former police commissioner Jim Gordon. Not for Batman. And not for us.
Not for Gordon, because eight issues into this fifty-two issue maxi-series, he’s still sitting in Blackgate Penitentiary awaiting trial for 162 counts of manslaughter. Not for Batman, because his best friend and former police commissioner is in Blackgate leaving Batman with interim commissioner Jack Forbes. And not for us, because eight issues into the fifty-two issue maxi-series that is Batman Eternal, we’ve realized its glacial pacing shows no signs of melting even with global warming. Seriously, this story has more padding than bubble wrap.
So what is it this time that’s got my spleen venting like a Yellowstone geyser? It’s interim police commissioner Jack Forbes. When we first met Forbes, back in Batman: The Dark Knight # 1, he was a lieutenant in Internal Affairs and...
Not for Gordon, because eight issues into this fifty-two issue maxi-series, he’s still sitting in Blackgate Penitentiary awaiting trial for 162 counts of manslaughter. Not for Batman, because his best friend and former police commissioner is in Blackgate leaving Batman with interim commissioner Jack Forbes. And not for us, because eight issues into the fifty-two issue maxi-series that is Batman Eternal, we’ve realized its glacial pacing shows no signs of melting even with global warming. Seriously, this story has more padding than bubble wrap.
So what is it this time that’s got my spleen venting like a Yellowstone geyser? It’s interim police commissioner Jack Forbes. When we first met Forbes, back in Batman: The Dark Knight # 1, he was a lieutenant in Internal Affairs and...
- 1/23/2015
- by Bob Ingersoll
- Comicmix.com
Castle (Nathan Fillion), Beckett (Stana Katic) and the rest of the team play Texas Hold 'Em, so Beckett finally took up the offer to play poker, thought she didn't want to earlier. So what made her change her mind. Martha (Susan Sullivan) has to interfere as usual and tells everyone that when Castle blinks too much it means he's got a lousy hand. When he taps his fingers, it means he's bluffing and he "might have the nuts." Castle asks Beckett if she isn't afraid of a little action and lets her win. A woman is drowned in motor oil and Ryan (Seamus Dever) comments: "murder never sleeps." That'd be straight out of a book then. Castle is excited and Beckett thinks he's like a kid at Christmas. Ryan: "...with a dead body under the tree." How crude was that comment. Murder is nothing to laugh about. Castle believes the...
- 8/17/2011
- by mhasan@corp.popstar.com (Mila Hasan)
- PopStar
Front Line Films
Montreal World Film Festival
MONTREAL -- Muddled in both execution and content, "The Gun (From 6 to 7.30 PM)" is a below-par competition entry at this year's Montreal World Film Festival. The film is shot digitally and consists of 15 scenes without cuts. But it looks like director Vladimir Alenikov -- who also wrote, edited and co-produced -- allowed the flexibility afforded by new technology to get the better of him. Both distribution and festival prospects look dim.
The film is a kind of "La Ronde" about a gun that changes hands during a 1 1/2-hour period one evening. A biker finds the gun -- a Russian pistol -- out on the open road and sells it to a shopkeeper. Cab driver Victor (Jack Forbes) suddenly feels the need to protect himself and his wife and buys the gun. It's stolen from him during a visit to a strip joint and ends up in the hands of nervy youth Gene (Jeremiah Hassemer). He finally uses it on Victor in a robbery.
Digital prophets like Mike Figgis often claim that editing is deceitful, saying it distorts the truth about the subject under the lens. But the long, unbroken takes of "The Gun" will have viewers rushing for their copies of "Battleship Potemkin" for montage-inspired relief. The unedited scenes contain so much verbal deadweight that they numb the viewer, while Kirill Davidoff's camerawork is too labored to add interest. Bad sound doesn't help.
The director's attitude to gun ownership is baffling. The film takes no clear stance on the subject and appears more muddled than intentionally ambiguous.
Montreal World Film Festival
MONTREAL -- Muddled in both execution and content, "The Gun (From 6 to 7.30 PM)" is a below-par competition entry at this year's Montreal World Film Festival. The film is shot digitally and consists of 15 scenes without cuts. But it looks like director Vladimir Alenikov -- who also wrote, edited and co-produced -- allowed the flexibility afforded by new technology to get the better of him. Both distribution and festival prospects look dim.
The film is a kind of "La Ronde" about a gun that changes hands during a 1 1/2-hour period one evening. A biker finds the gun -- a Russian pistol -- out on the open road and sells it to a shopkeeper. Cab driver Victor (Jack Forbes) suddenly feels the need to protect himself and his wife and buys the gun. It's stolen from him during a visit to a strip joint and ends up in the hands of nervy youth Gene (Jeremiah Hassemer). He finally uses it on Victor in a robbery.
Digital prophets like Mike Figgis often claim that editing is deceitful, saying it distorts the truth about the subject under the lens. But the long, unbroken takes of "The Gun" will have viewers rushing for their copies of "Battleship Potemkin" for montage-inspired relief. The unedited scenes contain so much verbal deadweight that they numb the viewer, while Kirill Davidoff's camerawork is too labored to add interest. Bad sound doesn't help.
The director's attitude to gun ownership is baffling. The film takes no clear stance on the subject and appears more muddled than intentionally ambiguous.
Front Line Films
Montreal World Film Festival
MONTREAL -- Muddled in both execution and content, "The Gun (From 6 to 7.30 PM)" is a below-par competition entry at this year's Montreal World Film Festival. The film is shot digitally and consists of 15 scenes without cuts. But it looks like director Vladimir Alenikov -- who also wrote, edited and co-produced -- allowed the flexibility afforded by new technology to get the better of him. Both distribution and festival prospects look dim.
The film is a kind of "La Ronde" about a gun that changes hands during a 1 1/2-hour period one evening. A biker finds the gun -- a Russian pistol -- out on the open road and sells it to a shopkeeper. Cab driver Victor (Jack Forbes) suddenly feels the need to protect himself and his wife and buys the gun. It's stolen from him during a visit to a strip joint and ends up in the hands of nervy youth Gene (Jeremiah Hassemer). He finally uses it on Victor in a robbery.
Digital prophets like Mike Figgis often claim that editing is deceitful, saying it distorts the truth about the subject under the lens. But the long, unbroken takes of "The Gun" will have viewers rushing for their copies of "Battleship Potemkin" for montage-inspired relief. The unedited scenes contain so much verbal deadweight that they numb the viewer, while Kirill Davidoff's camerawork is too labored to add interest. Bad sound doesn't help.
The director's attitude to gun ownership is baffling. The film takes no clear stance on the subject and appears more muddled than intentionally ambiguous.
Montreal World Film Festival
MONTREAL -- Muddled in both execution and content, "The Gun (From 6 to 7.30 PM)" is a below-par competition entry at this year's Montreal World Film Festival. The film is shot digitally and consists of 15 scenes without cuts. But it looks like director Vladimir Alenikov -- who also wrote, edited and co-produced -- allowed the flexibility afforded by new technology to get the better of him. Both distribution and festival prospects look dim.
The film is a kind of "La Ronde" about a gun that changes hands during a 1 1/2-hour period one evening. A biker finds the gun -- a Russian pistol -- out on the open road and sells it to a shopkeeper. Cab driver Victor (Jack Forbes) suddenly feels the need to protect himself and his wife and buys the gun. It's stolen from him during a visit to a strip joint and ends up in the hands of nervy youth Gene (Jeremiah Hassemer). He finally uses it on Victor in a robbery.
Digital prophets like Mike Figgis often claim that editing is deceitful, saying it distorts the truth about the subject under the lens. But the long, unbroken takes of "The Gun" will have viewers rushing for their copies of "Battleship Potemkin" for montage-inspired relief. The unedited scenes contain so much verbal deadweight that they numb the viewer, while Kirill Davidoff's camerawork is too labored to add interest. Bad sound doesn't help.
The director's attitude to gun ownership is baffling. The film takes no clear stance on the subject and appears more muddled than intentionally ambiguous.
- 9/23/2003
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.