One of the most unusual of the creative treasures to enter the public domain this month is King of Jazz. The plotless, experimental 1930 musical film shot in early Technicolor centers on influential bandleader Paul Whiteman, nicknamed “The King of Jazz.”

In one memorable scene, the portly, mustachioed Whiteman opens a small bag and winks at the camera as miniature musicians file out one after another like a colony of ants and take their places on an ornate, table-top bandstand.

A new video based on clips from King of Jazz has won this year’s Public Domain Film Remix Contest — an annual competition that invites filmmakers from around the world to reimagine often long-forgotten literary classics, films, cartoons, music, and visual art that are now in the public domain. This means creators can use these materials freely, without copyright restrictions. In 2026, works created in 1930 entered the public domain.

Titled Rhapsody, Reimagined, the roughly two-minute video captures the King of Jazz‘s surreal quality: Cookie-cutter rows of musicians, showgirls, office workers and random furniture cascade across the screen as Whiteman’s winking face looks on.

“I wanted to transform the figures and bodies into more dream-like shapes through collage and looping and repetition,” said Seattle-based filmmaker Andrea Hale, who created the piece in collaboration with composer Greg Hardgrave. For video artists, Hale said discovering what’s new in the public domain each January is a thrill. “We’re always looking for things to draw from,” Hale said. “Opening that up to a bigger spread of materials is amazing. That’s the dream.”

A massive repository of content

The Internet Archive, the San Francisco-based nonprofit library behind the contest, digitizes and provides public access to a massive repository of content, including many materials used by contest participants. “These materials have often just been in film canisters for decades,” said digital librarian Brewster Kahle, who founded the Internet Archive in 1996.

This year’s submissions range from a reworking of the 1930 film The Blue Angel starring Betty Boop — another public domain entrant this year — instead of Marlene Dietrich, to an AI-generated take on the 1930 Nancy Drew book The Mystery at Lilac Inn.

Kahle said the Internet Archive received nearly 280 entries this time around, the highest number since the competition launched six years ago. “Things are not just musty, old archival documentation of the past,” Kahle said. “People are bringing them to life in new and different ways, without fear of being sued.”

The public domain in the era of AI

Lawsuits have become a growing concern for artists and copyright holders, especially with the rise of generative AI. Recent years have seen a surge in online video takedowns and copyright infringement disputes.

Media companies are trying to address the problem through deals with tech firms, such as Disney and OpenAI’s plan, announced late last year, to introduce a service allowing users to create short videos based on copyrighted characters, including Cinderella and Darth Vader.

“On the one hand, these licensing agreements seem quite a clean solution to thorny legal questions,” said Jennifer Jenkins, director of the Center for the Study of the Public Domain at Duke Law School. “But what’s exciting about the public domain is that material, after a long, robust 95-year copyright term, is just simply free for anyone — without a team of lawyers, without a licensing agreement, without having to work for Disney or OpenAI — to just put online,” Jenkins said.

Jenkins also pointed out an interesting twist for people who create new works using materials from the public domain. “You actually get a copyright in your remix,” she said. “Just like Disney has copyrights in all of its remakes of wonderful public domain works like Snow White or Cinderella.” (The Brothers Grimm popularized these two characters in their 19th century collection Grimm’s Fairy Tales. But their roots are much deeper, going back to European folklore collections of the 1600s and beyond.)

However, this only applies to works created by humans — U.S. copyright law currently doesn’t recognize works authored by AI. And Jenkins further cautioned that creators only get a copyright in their new creative contributions to the remix, and not the underlying material.

This year’s Public Domain Film Remix Contest winner Andrea Hale said she’s using a Creative Commons license for Rhapsody, Reimagined. This means the filmmaker retains the copyright to her work but grants permissions that allow other people to freely use, share, and build upon it. “I’m keeping with the spirit of the public domain,” Hale said.

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Published
January 21, 2026
6:24 PM PST

The Sundance Film Festival begins for the last time in Park City, Utah before heading to Boulder, Colo., next year. It’s a bittersweet finale for the country’s premier independent film festival, founded by Robert Redford in 1978.

With a gala, the festival plans to pay tribute to the late actor and director, who died of natural causes in September.

“Before he passed earlier this year, [Redford] shared with us this quote: ‘Everybody has a story,’” says the festival’s director, Eugene Hernandez. “This notion is such a great framing for a festival that has always been about finding and sharing with audiences the stories that come from all over the world.”

This year, the festival will screen films that got their starts at Sundance, including Little Miss Sunshine, which went on to be nominated for best picture at the 2007 Oscars.

The festival will also screen a remastered print of the 1969 movie Downhill Racer, in which Redford plays a champion skier. Redford was also a producer on this indie film.

“He would tell this story year after year about getting Downhill Racer made,” recalls Sundance senior programmer John Nein. “It became a way that he understood the notion of protecting independence and protecting the artistic voice of a film. He often used that when he talked to emerging filmmakers, to relate to the struggles that they had in getting their films made the way that they wanted to.”

Nein says one way to recognize that legacy is by programming 40 percent of the slate from first-time filmmakers. More than 16,200 films were submitted from 164 countries. Throughout the year, the Sundance Institute hosts labs and programs and provides grants and fellowships for independent filmmakers.

Over the years, Sundance has been a launching pad for filmmakers such as Quentin Tarantino, Ava DuVernay, The Coen brothers, Ryan Coogler, Chloe Zhao and Paul Thomas Anderson.

Another filmmaker whose career Sundance supported is Rachel Lambert, who says she was inspired by a film Redford directed: Ordinary People.

“It’s a profound legacy a single human being can leave an entire nation’s culture,” she says of Redford. “It’s remarkable.”

Lambert will premiere her newest film, Carousel, a love story starring Chris Pine and Jenny Slate.

Also showing at Sundance: documentaries about Chicano theater pioneer Luis Valdez, singer Courtney Love, tennis star Billie Jean King, and South African leader Nelson Mandela.

Among the features in competition is The Gallerist with Natalie Portman and Jenna Ortega.

Another is The Invite, with Olivia Wilde, Seth Rogen, Penélope Cruz and Edward Norton. The Invite‘s producer, David Permut, has been faithfully attending Sundance since the late 1980s, when he was in the audience for Steven Soderbergh’s breakout Sex, Lies, and Videotape. 

“I never miss Sundance. I’ve been going every year since,” says Permut. “I stay for 10 days, I’m not in and out like a lot of people from Hollywood when they’re there with their film. I love the second week because it’s basically cinephiles from all over the world.”

Permut showed his first film at Sundance — Three of Hearts — in 1993. Last year, his film Twinless won the festival’s audience award.

“I have 57 movies I want to see this coming Sundance,” he says. “For me, it’s about discovery.”

Actress Hana Mana in The Friend’s House Is Here. The film was smuggled out of Iran to premiere at this year’s Sundance Film Festival.

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Some filmmakers have gone to great lengths to get their work screened this year — including the Iranian film The Friend’s House is Here.

The drama—set in Tehran’s underground art scene — was shot under the radar of Iranian authorities. Amid the country’s recent political turmoil, members of the film’s crew had to drive 11 hours to smuggle the film over the Turkish border to get it to the festival. According to the film’s publicist, the film’s two main actresses were not heard from for weeks during Iran’s recent unrest. The publicist says the women are now safe but have been denied visas by the United States to attend Sundance.