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Sundance prepares for its final Park City festival before moving to Boulder, Colo.
This is the last year the Sundance Film Festival will be held in Park City, Utah. It is moving to Boulder, Colo., in 2027. Above, the Egyptian Theatre on Main Street in Park City.
Mandalit del Barco/NPR
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Mandalit del Barco/NPR
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.
Alma Linda Films
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Alma Linda Films
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.
Inde Navarrette and Michael Johnston in Obsession.
Focus Features
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Focus Features
Two big horror films, Obsession and Backrooms, just smashed all box office expectations. So much of their success has been driven by Gen Z, which is now the biggest moviegoing demographic. But what makes a movie a Gen Z movie? Today we’re bringing you an episode of NPR’s It’s Been a Minute. Host Brittany Luse talks about this trend with Sam Adams and Reanna Cruz.
If you want to hear more about these movies, check out these episodes:
In ‘Obsession,’ love hurts. It really, really, really hurts.
‘Backrooms’ brings YouTube horror to the big screen
Zendaya brings ‘The Drama,’ we bring the spoilers
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I regret to inform you I’ll need to keep this introduction brief. Not because there’s any lack of things to say about July’s crop of notable new releases; it features award-winning journalists and several different flavors of anxiety about our bleak ecological future and data-dominated present, as well as the welcome returns of several beloved novelists.
No, these books certainly deserve some love, dear readers. It’s just that I’m finding it a bit tough to type while bearhugging a box fan. And since it seems that may be my last best chance to get through this latest U.S. heat wave here on the east coast without sweating through my shirt, I feel some urgency to get back at it.
So enough with the ado. With any luck, you’ll soon be cracking open one of these great reads on the beach — or in front of a decent air-conditioning unit, at any rate.
You Won’t Get Free of It: Stories of Mothers and Daughters, by Rachel Aviv (July 7)
Aviv, New Yorker staff writer and finalist for this year’s Pulitzer Prize, has a fairly extensive purview in her role as reporter at large. Still, when reviewing her latest work, Aviv noticed a crucial throughline: “I realized that, to some degree, I’d been writing about mother-daughter pairs for the last decade,” she explained to the Paris Review. Seeing this, she decided to collect and revise half a dozen of those stories, which cover ground from a daughter’s troubling fugue states to the immigrant nannies who must leave their own children behind, to Alice Munro’s daughter, whose claims of sexual abuse went unheeded yet regularly resurfaced in her mother’s fiction.
Country People, by Daniel Mason (July 7)
In Mason’s first novel since North Woods, 2023’s critical darling and book club stalwart, readers are plopped right back in the New England woods but the time scale has shrunk considerably. Whereas North Woods spanned centuries, his new novel confines itself to a single year, during which Miles, loving family man and lackadaisical Ph.D. candidate, plans to finally buckle down on that derelict degree of his and reassert his worth to one and all! At least, that’s the idea. But plans don’t stand much of a chance when there are eccentric neighbors to befriend and mysterious local legends to investigate.
Catch the Devil: A True Story of Murder, Deception, and Injustice on the Gulf Coast, by Pamela Colloff (July 14)
This is the first book from Colloff, a veteran investigative journalist for ProPublica and The New York Times Magazine. She has won multiple National Magazine Awards for stories focused on miscarriages of justice – such as her 2019 piece about Paul Skalnik, a grifter, fabulist, sexual predator and snitch, whose fabrications can be linked to dozens of wrongful convictions in Florida, including some sending the innocent to death row. Here Colloff expands upon that investigation, which gets a lot more room to breathe in the transition from magazine article to full-length book. What emerges in this disturbing account is a portrait of one man’s callous cruelty, and the law enforcers who had no problem tolerating a deal with the devil, provided it kept juicing the conviction rate.
Cloudthief, by Nathaniel Rich (July 14)
Though it’s his fiction we’re discussing here, it’s important to note Rich’s reporting has earned plaudits, too, as well as a few film adaptations. No matter the medium, climate change is usually on his mind, as well as the blunt, rather bleak, prognosis he offered on Fresh Air in 2019: “There’s a huge range of outcomes … ranging from the not very good to the apocalyptic.” Which is to say I’m surprised to find myself describing his newest response to global catastrophe as a rollicking good time – and not just because I’ve never said those words, in that order, in my life. This spry, funny caper features a freelance environmental reporter who inadvertently breaks bad, careening under the influence of lust and a light wallet toward the novel’s big centerpiece: the planned heist of a massive data center.
Data Empire: The Power of Information to Organize, Control, and Dominate, by Roopika Risam (July 14)
And now, for another book centered on data – albeit from a rather different angle. This illuminating history from Risam, a Dartmouth professor, traces the practice of collecting information – and the power conferred by possessing it – from the bones that were humans’ first archives, to the omnipresent systems that shape (or outright determine) life today. As Risam asks, “What has it meant – and what will it mean – when records that once served only to help us remember, come to rule?” A pressing question (see: those data centers), which you’re probably better served trying to answer with the help of Risam than, say, Alexa or Claude.
It Will Come Back to You: Stories, by Sigrid Nuñez (July 14)
For someone with nine novels to her name, Nuñez got a later start than you might expect, having published her first book when she was already in her mid-40s. More than three decades later, now a spry 75 years old, the National Book Award winner has gotten around to publishing her first collection of short stories. The 13 stories here have been culled from across her career, but each one resonates clearly with the warm timbre of her voice: simple, unadorned prose and mundane setups, from which she consistently manages to tease out glimpses of truth, elusive and profound.
They Stole a City: Wilmington’s White Supremacist Coup and the Families Who Live with Its Legacy, by Lauren Collins (July 14)
The only coup d’etat to succeed on U.S. soil is, at most, a distant historical afterthought these days. To be honest, I can’t recall reading a single textbook entry that even remarked on the 1898 race massacre in Wilmington, N.C., an action led by white supremacists that left many (historian estimates say up to 300) Black Wilmingtonians dead and permanently scarred a community newly aware of its simmering animus and vulnerability to violent overthrow. So I’m grateful for Collins’ new chronicle of the infamous event, which fills in some serious gaps in the American collective memory and explains how its perpetrators cultivated the disorienting silence that persists in the historical record today.
Yellow Pine, by Claire Vaye Watkins (July 21)
I don’t think I’ve ever actually laid eyes on the Mojave Desert but after reading Watkins’ latest novel, it feels like I can picture it more vividly than some streets I’ve actually lived on. No, it’s “not a beginner’s wilderness,” as Watkins concedes in Yellow Pine, but this landscape so redolent of death is also deceptively robust with life, if only you’re patient enough to find it. Too bad, then, that it’s also on fire. And choked by drought, irradiated by military test sites and soon to be sacrificed to a massive new solar array named, inexplicably, Yellow Pine. But those aren’t the only complications confronting the book’s main character, Rose, whose aspirations of becoming a kind of climate hermit warp a bit under the pressure of a rekindled love and the pendulum swing of rage and despair at the state of the world.
Cool Machine, by Colson Whitehead (July 21)
Ray Carney is back, for what regrettably appears to be the last time. The lifelong Harlemite, hard-luck furniture dealer and ambivalent crook starred previously in Harlem Shuffle and its sequel, Crook Manifesto. His perspective is our window on the changing eras of the historically Black neighborhood, from the mid-1950s on. In this, the final installment in Whitehead’s brisk, exceedingly entertaining Harlem Trilogy, readers catch up with Carney around the start of the 1980s, following him deeply into Reagan’s decade. The novel also represents the end of an era for Whitehead, whose attention has been exclusively occupied with these characters since he won Pulitzer Prizes for consecutive novels, The Underground Railroad and Nickel Boys.
Beginning Middle End, by Valeria Luiselli (July 28)
The gifted young Mexican writer returns this month with her fourth novel, the second she has written in English and her first since Lost Children Archive launched to widespread plaudits more than seven years ago. Her new book, like her previous one, also concerns the travels of a small family – only this time, the road leads not through the American Southwest but Sicily. And the history sought by its mother-daughter main characters is not a record of bureaucratic cruelty but something much more intimately personal: the links shaped and tested by generations of shared heritage and experience.
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