@ Sundance :: The Movies We've Seen (Part One)

Although Robert Redford's intention 30 years ago was to hold a film festival to showcase independent movies where you could, in his words, "ski and watch movies," Sundance Film Festival has evolved over the years to become one of the most highly regarded film festivals in America, if not the world. As a result, while movie buffs that attend face obstacles, from the sub-freezing temperatures to the horrendously pricey accommodation options, they are rewarded by watching some of the best indie films before most secure distribution. EDGE contributor Sean Au takes in the best and worst Sundance Film Festival has to offer this year.

Sundance fills a gap for many film critics as it falls right after most of the major prestige releases have been viewed for award consideration and during a month traditionally known as the time when distributors dump movies considered difficult to market (or just aren't very good). What's best about the festival is that it offers critics the opportunity to catch next year's Oscar bait at the earliest possible instant, especially since many independent films premiere at Sundance. Here are some highlights from the press screenings that I have attended:

Other People (USA)

David, a gay, New York-based comedy writer, moves home to Sacramento to help take care of his terminally-ill mother after being away for 10 years. He quickly learns that it is not the same place he left; and complicating matters is dealing with his conservative dad and sisters and navigating the gay scene as transient; all the while tending his dying mother.

The movie opens with a superb scene in which David with his family cry and hold on to each other as his mother takes her last breath. Chris Kelly's detailed construct of this scene plays with the mind of the audience, which is intensified by how he shows how tightly knit this family is when they come together to mourn. Molly Shannon, an indie favorite, walks us through the rest of the film that chronicles her decline from the beginning to the end of the year. Unfortunately, the opening scene is also the film's best. The humor in this supposed comedy is almost non-existent. Cruel as I may sound, by the time the movie takes us to July, I was hoping that the story would move faster to lessen my pain of watching a non-charismatic David (Jesse Plemons) trying to solve his emotional problems which by now, have become mundane and tedious.

The Lure (Poland)

A horror musical based on the Polish mermaid mythology? Such is "The Lure," in which two such mermaids, the gorgeous Golden and Silver, are attracted by a family of musicians playing by the beach and decide to join them in their burlesque performances. Being natural performers with seductive personas, the mermaids thrill the audience and fill the club, even partaking in Playboy-inspired photo shoots. All seems well until Silver's infatuation for the family's young son evolves into love.

How is this a horror movie you ask? The mermaids eat humans. First time Director Agnieszka Smoczynska updates the mermaid story with a fresh point-of-view through the use of multi-genre songs that leave no one unimpressed. While the relationship between the two mermaids is never fully explained, there is a curious number where Golden flirts and kisses her female mentor at the club, most likely attributable to the sexual fluidity of our Polish counterparts.

The Lobster (Ireland)

Imagine a world where lone souls are sent to a countryside hotel where they are given 45 days to find someone to fall in love with. Is that even possible? Well, they have to; or they will be turned into an animal of their choice. Colin Farrell, who likely intentionally gained weight for this role, gives a stripped down performance as David, a man whose wife has left him. Will he find true love at the hotel in time? Or will his search lead him to find somebody in a group of militants living in the woods?

There is a scene where David when asked about his sexual orientation at the hotel reception gives a deadpan explanation of how he has had a homosexual experience. It's a moment that hilariously defines the movie's light tone. Greek Director Yorgos Lanthimos constructs a world that resembles a Wes Andersen movie but thankfully leaving out the annoying whimsical touches, therefore adding a social commentary element to this comedy. Ben Whishaw and Rachel Weisz co-star.

Spa Night (USA)

Set in Los Angeles' Koreatown, "Spa Night" tells the story of a Korean American teenager who is exploring his sexuality. David Cho often goes to the Korean spa with his father, but he comes to realize that the spa is also a place where gay men discreetly hook up. With his sexual overtures to another muscly student are rejected, David decides to work at the spa to navigate and even facilitate this cruising culture. First time Director Andrew Ahn takes us into a gay subculture that few know about; he does an even better job framing the sexual racism without a heavy hand. Newcomer Joe Seo succeeds in conveying the curiosity, disgust and self-questioning with just the right amount of emotions, giving the audience surprises in discovering this sexual journey.

As Sundance Film Festival enters a second week, expect more highlights from the best of independent cinema in snow country.