Cinematographers At 2003 Sundance
With the 2003 Sundance Film Festival already in full swing in Park City, Utah, the films are being screened, the deals are in the making and the talent is ready to be discovered. With a lot of returning filmmakers at this year's festival, there is also a host of new faces and perspectives ready to be discovered. Here, we've compiled a list of all the features showing, the cinematographers who shot them, and some tidbits about the films from Sundance programmers.
Director: David Gordon Green
Cinematographer: Tim Orr
Notes: Shot and presented in 35mm. Orr shot last year's critically acclaimed film with Green, "George Washington."
Director: Shari Springer Berman, Robert Pulcini
Cinematographer: Terry Stacey
Notes: Sundance film programmers comment that the film "contains interesting comic-book style visuals...also dramatic white-set shots." Stacey shot "The Laramie Project," a Sundance selection last year.
Director: Todd Graff
Cinematographer: Kip Bogdahn
Notes: "Camp" was filmed in 24P. Bogdahn recently shot "Bought & Sold" and worked with Stacey on "The Laramie Project" as second unit DP.
Director: Wayne Kramer
Cinematographer: James Whitaker
Notes: "The Cooler" was shot on 35mm. Whitaker shot "Sluts & Losers" and "The Other Side" in 2001.
Director: Mark Rucker
Cinematographer: Kelly Evans
Notes: "Die Mommie Die" was shot and will be presented in 35mm. Evans shot "Let's Talk About Sex" in 1998.
Director: Mark Decena
Cinematographer: Rob Humphreys
Notes: Humphreys was formerly a gaffer, his recent DP credits include "Beatrice" and "Charlotte Sometimes," which tied for the Audience Award at 2002 SXSW.
Director: Michael Burke
Cinematographer: Vanja Cernjul
Notes: Shot on 35mm. Cernjul won the best cinematography award at the 2001 Stockholm Film Festival for his work on "Rain."
Director: Fenton Bailey, Randy Barbato
Cinematographer: Teo Maniaci
Notes: Shot in digital, "Party Monster" is full of hallucinations in this drug-addled story. Maniaci shot "The Business of Strangers" which competed at Sundance in 2001.
Director: Peter Hedges
Cinematographer: Tami Reiker
Notes: "Pieces of April" was produced by InDigEnt and shot on DV. Reiker was nominated in 1999 for an IFP Spirit Award in best cinematography for "High Art."
Director: Joey Curtis
Cinematographer: Derek Cianfrance
Notes: This tale of tale of illegal street racing and love was shot digitally. Cianfrance served as DP on "David Blaine: Vertigo" for TV in 2002.
Director: Sarah Rogacki
Cinematographer: Matthew Clark
Notes: "Rhythm of the Saints" was shot on 35mm. Clark shot the notable documentary on rock band Wilco "I Am Trying To Break Your Heart."
Director: Tom McCarthy
Screenwriter: Tom McCarthy
Cinematographer: Oliver Bokelberg
Notes: "The Station Agent" follows a man born with dwarfism interested in two things -- trains and to be left alone. Shot on 35mm.
Director: Scott Saunders
Cinematographer: David Leitner
Notes: "The Technical Writer" was shot with Sony's MPEG IMX camera. Leitner shot the award-winning documentary "Trembling Before G-d."
Director: Catherine Hardwicke
Cinematographer: Elliot Davis
Notes: "thirteen" was shot on 35mm by Davis, who has lensed "Out of Sight," "I Am Sam" and the upcoming "Legally Blonde 2: Red, White and Blonde."
Director: Matthew Ryan Hoge
Cinematographer: James Glennon, ASC
Notes: Glennon shot "The West Wing" for TV and recently, "About Schmidt."
Director: A. Dean Bell
Cinematographer: Richard Connors
Notes: Shot on digital.
Directors: Grover Babcock, Blue Hadaegh
Notes: "A Certain Kind of Death" lays bare the mysterious process that happens around us all the time -- people die with no next of kin.
Directors: Ted Demme, Richard LaGravenese
Cinematographers: Clyde Smith, Anthony Janelli
Notes: The film uses interviews and film clips to look back at the American movies in the 1970s. Smith recently worked on spoof-shorts for the MTV Movie Awards and Janelli worked on the TV show "Arrest & Trial."
Directors: Nancy Kates, Bennett Singer
Cinematographer: Robert Shepard
Notes: Shepard also shot "The Murder of Emmett Till," another documentary entry at this year's Sundance.
Director: John Dullaghan
Producer: John Dullaghan
Cinematographers: Matt Mindlin, Bill Langley
Notes: The film utilizes an array of interviews and stock footage to show the provocative writer. Mindlin recently did additional photography on "Sex with Strangers" and Langley's credits include coverage of the World Series, the Oklahoma City bombing and the LA riots.
Director: Andrew Jarecki
Producers: Andrew Jarecki, Marc Smerling
Cinematographer: Adolfo Doring
Notes: Uses news footage to show the Friedman family undergoing a media onslaught, but Sundance programmers note that the "really interesting" footage is from the Friedman's own home movies.
Director: Deborah Dickson
Cinematographer: Don Lenzer
Notes: Lenzer shot the Academy-nominated documentary "Into the Arms of Strangers: Stories from the Kindertransport." The film incorporates lively clips such as Vidal sparring with William F. Buckley and Norman Mailer and a Broadway revival of his play "The Best Man," but the penultimate payoff is watching Vidal speak of his life and work.
Director: Stanley Nelson
Cinematographer: Robert Shepard
Notes: The film examines the climate surrounding the murder of young Emmett Till in the Mississippi Delta, viewed as precursor to the Civil Rights Movement.
Director: Jonathan Karsh
Cinematographer: Amanda Micheli
Notes: Micheli, who directed "Just For the Ride" in 1995, shot this intimate portrait about 11 special-needs children and the woman who cares for them.
Directors: Chana Gazit, David Steward
Cinematographer: Joel Shapiro
Notes: "The Pill" uses interviews shot by Shapiro ("Woody Allen: A Life in Film") and archival footage of birth control activist Margaret Sanger.
Director: Anne Makepeace
Cinematographer: Nancy Schreiber, ASC
Notes: Schreiber shot "Your Friends and Neighbors," "Celluloid Closet"
and "Stranger Inside." She was nominated in 1994 for the Independent Spirit Award in best cinematography for "Chain of Desire" and nominated at Camerimage for "Deadbeat."
Director: Robb Moss
Cinematographer: Robb Moss
Notes: Moss shot "Riverdogs" 24 years ago and this time, revisits the film by intercutting it with contemporary interviews of the same people who were involved in the production.
Director: Elaine Epstein
Cinematographer: Sven Cheatle, Carl DeHeer, Brian Green, Eddie Wes
Notes: Called an "unprecedented and unflinching look at how the citizens of South Africa are living with the AIDS epidemic," "State of Denial" was shot by an all-South African crew.
Director: Steve James
Cinematographers: Dana Kupper, Gordon Quinn, Peter Gilbert
Notes: James's ("Hoop Dreams") new film takes a deeply personal turn as he returns to the town where 10 years earlier he was a "big brother" to a troubled young boy named Stevie. Filmed over a number of years, this film gives us the opportunity to witness firsthand what can happen when the system fails a person.
Director: Mark Moormann
Cinematographer: Patrick Longman
Notes: Shot by former aerial cameraman Longman, the film uses a tapestry of historical footage, performances, and Dowd's own humble narrative, to give a homage to recording pioneer Dowd.
Directors: Sam Green, Bill Siegel
Cinematographers: Andy Black, Federico Salsano
Notes: Through remarkable archival footage and interviews with members of the dissolved group of Weathermen, a group of white-bread, upper-middle-class college students who took up guns and explosives to plot the violent overthrow of the United States government.
Director: Judith Katz, Madeleine Gavin, Gary Sunshine
Cinematographer: Dyana Taylor, Paul Gibson
Notes: Taylor ("Common Threads," "Story from the Quilt") and Gibson ("Paris is Burning," "Soul in the Hole") follow a group of inmates are asked to address this question in a writing workshop.
Director: George Gallo
Notes: Filmed partly with 24P, the film uses shots from Eddie Griffin's stand-up comedy and footage from his family reunion.
Director: Richard Day
Cinematographer: Nicholas Hutak
Notes: Hutak ("Swallows," "Ahmed, Mr.") had the challenge of shooting a film that follows "three larger-than-life ladies" who are actually played by men.
Director: Jonathan Kesselman
Cinematographer: Kurt Brabbee
Notes: Brabee ("Kaante," "40") shot this "Jewxploitation" film about a Jewish superhero on 24P.
Director: Chris Fisher
Cinematographer: Eliot Rockett
Notes: Rockett ("The Specials," "Crocodile") had to visually communicate this story of a demon in the mind of Richard Ramirez, aka the Nightstalker, who sends him "raging through the city streets, spastic on crack cocaine, contorted by paranoia, and mauling random women in bouts of bloody, satanic sadism."
Director: Thomas Haden Church
Cinematographer: Nathan Hope
Notes: Hope whose work on the kinetic "Fastlane" TV series, lensed this road trip movie about a group of friends in search of a magical forest of marijuana on 35mm.
Director: Jonas Åkerlund
Cinematographer: Eric Broms
Notes: Shot on 16mm, by longtime collaborator Broms for music video director Åkerlund, "Spun" is a frenzied collection of hardcore speed-freaks that simulates the drug's sensation with "jaw-dropping cinematography," notes the Sundance film guide.
Director: Helen Stickler
Notes: "Stoked" utilizes interviews with all the key players in the tragic story of '80s skateboard legend Mark "Gator" Rogowskim, as well as archival footage documenting the various stages of Gator's career and psyche.
Director: Danny Boyle
Cinematographer: Antony Dod Mantle
Notes: Known, acclaimed and sometimes reviled for his work on Dogme 95 films, DP Dod Mantle digitally lenses a post-apocalyptic London where a man begins his search for survivors after a deadly virus is unleashed.
Director: Israel Adrian Caetano
Cinematographer: Willi Behnisch
Notes: Behnisch ("Entre los dioses del desprecio," "La Fé del volcán") aids director Caetano is establishing himself as "a master of social realism and a key figure in a new generation of Argentine cinema."
Director: Duncan Roy
Cinematographers: Scott Taylor, Steve Smith, Claire Vinson, Ingrid Domeij
Notes: The many cinematographers on this project had the challenge of showing the different perspectives of a disaffected youth's search for love, status, and identity in late 1970s Britain. The film is presented with three side-by-side images projected at the same time.
Director: Roberta Torre
Cinematographer: Daniele Cipri
Notes: Cipri ("To Die for Tano," "South Side Love Story") helps make "Angela" a first-person experience about a mafia wife grappling with Sicilian family codes and impossible love.
Director: Michael Mackenzie
Cinematographer: Eric Cayla
Notes: The filmmakers chose to shoot "The Baroness and the Pig" in high definition to amplify the themes discussed in the story -- an obsession with technology, interest in new forms of art and questions as to what constitutes being human and civilized.
Director: Monique Gardenberg
Cinematographer: Marcelo Durst
Notes: Durst was nominated for best cinematography honors at Cinema Brazil Grand Prize in 2001 for "Estorvo," he won the same award for the same film at the Gramado Film Festival.
Director: Gurinder Chadha
Cinematographer: Jong Lin
Notes: Lin's ("Eat Drink Man Woman," "The Wedding Banquet") cinematography captured the appeal and entertainment of action-packed soccer matches.
Director: Jeremy Wooding
Cinematographer: Jono Smith
Notes: Smith ("Soul Patrol," "Sari & Trainers") shot this cross-cultural romance set in London's East End about a young girl of Indian heritage on 35mm.
Director: S. Wyeth Clarkson
Cinematographer: Sammy Inayeh
Notes: The film incorporates a perspective from the main character's video camera to show a pact three teens make to drive from Quebec City to the west coast and upon arrival, commit suicide. The script was culled together from input by Web users.
Director: Penny Woolcock
Cinematographer: Graham Smith
Notes: "The Death of Klinghoffer" is based on the opera of the same name which recalls the 1985 Palestinian hijacking of a cruise ship. Rather than simply record static stagings, the proscenium arch is broken down and the opera is taken on location.
Director: Nicolas Winding Refn
Cinematographer: Larry Smith
Notes: Smith ("The Piano Player," "Love in a Cold Climate") had the challenge of shooting a psychological thriller where the main character is prompted by mysterious visions relating to his wife's murder.
Director: Carlos Sorin
Cinematographer: Hugo Colace
Notes: Shot in an "immediate, improvisational style that emphasizes the intoxicating light in the landscape of the vast desert of Patagonia."
Director: Zhang Yuan
Cinematographer: Zhang Jian ("Fei ya fei," "Shower")
Notes: Noted as having a "quiet, understated filmmaking style," Jian gives the audience close-ups that the Sundance film guide calls "surprisingly intimate... a delicate dance of emotion."
Director: Alexei Muradov
Cinematographer: Robert Filatov
Notes: "The Kite" hovers in a timeless world somewhere between a bleak Soviet past and a dreary present untouched by the "promise" of perestroika and capitalism. Filatov shot the film with a palate of faded grays and browns to invoke a hazy past now frozen in the present.
Director: Huo Jianqi
Cinematographer: Sun Ming
Notes: In "Life Show", Ming had to carefully capture the complicated emotions of a woman in inland China as she struggles to understand the rapid changes of society around her.
Director: Mina Shum
Cinematographer: Peter Wunstorf
Notes: "Long Life, Happiness and Prosperity" uses magical realism to explore the themes of harnessing faith and finding acceptance during rocky times -- something perhaps not so different for "Smallville" DP Wunstorf.
Director: Karim Ainouz
Cinematographer: Walter Carvahlo
Notes: In 1998 Carvahlo won the Golden Frog at Camerimage for his sensitive rendering of "Central Station," and last year he received top honors from the Association of Brazilian Cinematography for "Lavoura Arcaica." With "Madame Sata," Carvahlo shows us a loose portrait of Joao Francisco dos Santos, a sometime chef, transvestite, lover, father, hero and convict from Rio de Janeiro.
Director: Lu Chuan
Notes: Small-town policeman Ma Shan wakes up one morning to discover that his gun is missing. During his search, things take a sinister turn when his first love turns up dead and the bullet appears to be from his gun.
Director: Fernando Leon de Aranoa
Cinematographer: Alfredo Mayo
Notes: The filmmaking style of "Mondays in the Sun" draws on a tradition of European social melodramas in its examination of the trials of the modern-day Spanish working class. Mayo's credits include "The Place That Was Paradise" and "Antigua, My Life."
Director: Unni Straume
Cinematographer: Harald Paalgard
Notes: "Virtuosic photography by Harald Paalgard ("Falcons," "Arven") captures the house's stark beauty and minimalist lines" as Sara, the main character, becomes estranged from her husband.
Director: Susanne Bier
Cinematographer: Morten Soborg
Notes: Soborg was had to adhere to the guidelines of the celebrated Dogme 95 manifesto for "Open Hearts," a film featuring a cast of some of the best Danish actors and actresses. In 2001 Soborg was awarded the Silver Dolphin Award in best cinematography at the Tróia International Film Festival for "Fruen på Hamre."
Director: Baltasar Kormakur
Cinematographer: Jean-Louis Vialard
Notes: Vialard ("was saddled with the task of portraying the treacherous undercurrents of family dysfunction at the same time revealing In the process the struggles with modernization in Iceland's remote fishing villages.
Director: Aisling Walsh
Cinematographer: Peter Robertson
Notes: Robertson transitions from camera operator ("Bridget Jones' Diary," "Notting Hill") to give an unflinching realism to "Song for a Raggy Boy," the true story of one man's courage to fight the fascist regime in an Irish reformatory school in 1939.
Director: Masahiko Nagasawa
Cinematographer: Junichi Fujisawa
Notes: Combining thriller and melodrama, Fujisawa ("Koko ni irukoto," "Inugami") shot the film revolving around a murder from three angles as three men.
Director: Niki Caro
Cinematographer: Leon Narbey
Notes: "An extraordinarily beautiful film filled with sweeping landscapes, whales, and a breathtaking performance by the stunning young first-time actress Castle-Hughes," notes the Sundance film guide. Narbey's credits include "The Price of Milk," which won the New Zealand Film and TV best cinematography award in 2000 and "Desperate Remedies" which won the same award in 1994.
Director: Hidenori Sugimori
Cinematographer: Hiroshi Machida
Notes: Machida ("Party 7," "Kaza-hana") captured the meditative sensuality of the Japanese sento bath to create a quiet study of man's relationship to nature. Each character in the film represents one of the elements, and each character struggles to find a balance in his or her world.
Director: Oliver Stone
Notes: Shot for television and edited down from more than 30 hours of interviews, "Comandante" documents Stone's talks over three days in Cuba with Fidel Castro.
Director: James Foley
Cinematographer: Juan Ruiz Anchía
Notes: Anchía won the Goya for best cinematography in 1999 for "Mararía." Other credits include "Glengarry Glenn Ross," "Focus" and "The Corruptor."
Director: Matthew Parkhill
Cinematographer: Affonso Beato, ASC, ABC
Notes: Beato also did the cinematography for "Ghost World," "Orfeu," and "All About My Mother" (which got him a Goya nomination and Camerimage nomination in 2000). In "dot the i" Beato shot the intensity of a gripping love triangle.
Director: Thom Fitzgerald
Cinematographer: Thomas M. Harting, CSC
Notes: Harting's credits include "A Midsummer's Night Rave," "Love That Boy" and "The Wild Dogs."
Director: Alex Proyas
Cinematographer: Simon Duggan
Notes: Film uses digital effects like a raindrop falling in slow motion before bouncing on the ground to lend a hand to this film depicting a fellow who wants to be a rock star.
Director: Ernest Dickerson
Cinematographer: Jonathan Freeman
Notes: Helmed by former DP Dickerson, Freeman ("Taken," "Monday Night Mayhem") was enlisted by the director to shoot "Good Fences" -- a story of an upwardly mobile black family.
Director: Jim Sheridan
Cinematographer: Declan Quinn
Notes: Of Quinn's work, Sundance reviewers wrote, "lively photography navigates the intricate, multi-dimensional terrain of charged family dynamics, almost as if the camera were another character."
Director: Thomas Vinterberg
Cinematographer: Antony Dod Mantle
Notes: Dod Mantle who shot "The Celebration" with Vinterberg, returns to depict a "near-future world where environmental damage causes flash ice ages and gravity loss." Dod Mantle also has the Danny Boyle film "28 Days Later" screening at Sundance.
Director: Ed Solomon
Cinematographer: Roger Deakins, ASC, BSC
Notes: Deakins has been nominated for the Oscar five times and was recognized last year as Cinematographer of the Year by the American Film Institute. In "Levity," Deakins reteamed with Billy Bob Thornton ("The Man Who Wasn't There") to depict a convict set free after 19 years in jail.
Director: Larry Charles
Cinematographer: Rogier Stoffers
Notes: With an all-star cast, Stoffers ("Enough," "Quills," "John Q") captures the electric performance of a musician played by Bob Dylan, who attempts to make a career comeback.
Director: Michael Polish
Cinematographer: M. David Mullen
Notes: With Big Sky country as his canvas, Mullen ("A Foreign Affair," "Jackpot") embarks on another adeventure with director Michael Polish that references "such disparate elements as the Bible, painters, and pop culture..."
Director: Campbell Scott
Cinematographer: Juan Ruiz Anchía
Notes: Anchía also has the film "Confidence" showing at this year's Sundance Film Festival.
Director: Richard Kwietniowski
Cinematographer: Oliver Curtis, BSC
Notes: Curtis was challenged with showing the double-life of Dan Mahowny without creating a cliche Jekyll and Hyde depiction. Mahowny is a mild-mannered assistant bank manager by day; by night, an obsessive gambler.
Director: Daniel Algrant
Cinematographer: Peter Deming, ASC
Notes: Using camera angles to reinforce the unsavory underpinnings of celebrity entitlement and political scandal the film exposes, Deming ("Mulholland Drive," "From Hell") creates a dichotomy between the outside and inside of a privileged world.
Director: Alan Rudolph
Cinematographer: Florian Ballhaus
Notes: Son of cinematographer Michael Ballhaus, ASC, Florian is accomplished in his own right with over a dozen films shot. His credits include "Investigating Sex" and "The Ride Home."
Director: Neil LaBute
Cinematographer: James L. Carter
Notes: Carter's credits include "Tuck Everlasting" and the series "Undeclared." In 1999 he was nominated for ASC Awards in Outstanding Achievement in Cinematography in a Regular Series' for the "Imagine" episode of "Michael Hayes."
Director: Keith Gordon
Cinematographer: Tom Richmond, ASC
Notes: Richmond ("Knockaround Guys," "Chelsea Walls") undertook this remake of Dennis Potter's original TV miniseries of the same name within a new context for Potter's noirish universe that is set in America.
Director: Gregor Jordan
Cinematographer: Oliver Stapleton, BSC
Notes: From the DP who brought you the groundbreaking "Take On Me" music video by A-Ha, Stapleton ("Birthday Girl," "The Cider House Rules") dishes up a darker project that focuses on a criminal subculture operating among U.S. soldiers stationed in West Germany just before the fall of the Berlin wall.
Director: Matt Dillon
Cinematographer: Jim Denault
Notes: Denault ("Our Town," "The Believer" and "Real Women Have Curves") has lensed quite a few independent features that made it to Sundance and went beyond.
Director: Lisa Cholodenko
Cinematographer: Wally Pfister, ASC
Notes: Pfister made a huge mark when his film "Memento" premiered at Sundance and went on to become a cult hit thereafter. He has since shot "Insomnia" and this time, with indie favorite Cholodenko ("High Art") for "Laurel Canyon."
Director: Salma Hayek
Cinematographer: Claudio Rocha
Notes: Actress Hayek turned to Rocha ("Easter," "Passionada") for her first outing as director in "The Maldonado Miracle.
Director: Jane Anderson
Cinematographer: Alar Kivilo, CSC
Notes: Kivilo ("Frequency," "The Glass House" and "Hart's War") tackles this drama about a man born inside the wrong body, who decides to change his gender. Kivilo was nominated in 1996 for an Emmy and also the ASC Awards Outstanding Achievement in Cinematography in Movies of the Week/Pilots for "Gotti." In 1995 he received a nod for the ASC Award in Outstanding Achievement in Cinematography in Mini-Series' category for "The Invaders."
Director: Peter Sollett
Cinematographer: Tim Orr
Notes: Orr also shot "All the Real Girls," also in competition at this year's festival.
Director: Helmut Schleppi
Cinematographer: M. David Mullen
Notes: "A Foreign Affair" intersperses the narrative of two brothers in search of wives in Russia with mockumentary footage of the romance tourists. The Sundance filmguide calls Mullen's cinematography "sharp and colorful."
Director: Brandon Sonnier
Cinematographer: Graham Futerfas
Notes: Futerfas shot segments of the film on reversal and processed the footage as reversal, then had the positive image optically printed and flipped onto a negative to be intercut with the rest of the negative. The DP also shot on regular negative stock, then optically printed to color reversal film and cross-processed that, which yielded a positive image from which dupe negatives were made.
Director: Mark Illsley
Cinematographer: Brendan Gavin
Notes: "Bookies" is a comedy/drama about small-time college bookies who run into trouble when their operation becomes a little too successful.
Director: Jamie Johnson
Cinematographer: Nick Kurzon
Notes: For this documentary which follows the lives of rich children, Kurzon served as DP, producer and editor.
Directors: Ron Berger, Dan Klores
Notes: The film combines still photographs, home movies and archival film footage with interviews with the boyhood friends of 2nd St. Park, and also charts the way their lives were dramatically impacted by the drugs and Vietnam War.
Director: Neema Barnette
Cinematographer: Yuri Neyman
Notes: Neyman's credits include "D.O.A." and "Back in the U.S.S.R."
Director: Sam Neave
Cinematographer: Daniel McKeown
Notes: McKeown was challenged with never having a full shooting script. The story was structured around six characters, most of whom have known each other previously, who gather for a 30th birthday party.
Director: Patrick Coyle
Cinematographer: Gregory R. Winter
Notes: Winter is an experienced commercial shooter and also lensed the
award-winning short "26 Summer St."
Director: Jennifer Dworkin
Cinematographer: Tsuyoshi Kimoto
Notes: This documentary introduces us to recovering Brooklyn crack addict Diane Hazzard and her children -- who, when we meet them, have been reunited by New York City social services after years of foster care.
Director: Joe Maggio
Cinematographer: Gordon Chou
Notes: Chou also shot 2000 Sundance entry "Margarita Happy Hour" and "Running With Scissors."
Director: Robert Saitzyk
Cinematographer: Michael Hardwick
Notes: The Sundance reviewer notes Hardwick's use of digital video to manipulate "light and imagery for maximum effect, turning the beautiful, stark winter landscape of Montana into a vivid hue of its own."
Director: Travis Wilkerson
Notes: An experimental documentary exploring the turn-of-century lynching of union organizer Frank Little in Butte, Montana.
Director: Franco Piavoli
Cinematographer: Franco Piavoli
Notes: Piavoli used multiple processes to create an idyllic evocation of place. There is little dialogue, the film is meant to be a poetic painting of a family.
Director: Matthew Barney
Cinematographer: Peter Strietmann
Notes: Strietmann's photography is called by the Sundance programmer "a magnificent, high-art, sexually charged comic book."
Directors: Keith Evans, Christian Farrell, Jeff Warrin
Notes: Field Studies #3 is a fully immersive cinematic installation/performance created by the collaborative trio, silt. The group will transform a large outdoor tent near Festival Headquarters into a dynamic cinematic environment. An exquisite density of moving pictures will fill the air as multiple projections on motile surfaces appear and disappear, hands articulate portable screens, and a gentle wind blows an image into place.
Director: Gaspar Noe
Cinematographer: Benoit Debie, Gaspar Noe
Cinematographer Notes: Playing with formal conventions, the film is constructed in reverse order, severely skewing the audience's expectations while probing the philosophical nature of time.
Director: Enzo Mileti
Cinematographer: Sam Taybi
Notes: Taybi has worked as a grip and camera operator. Here, he had to oversee the action-packed photography following two Olympic hopefuls competing in skiing and snowboarding.
Director: Lauren Lazin
Cinematographer: Jon Else, Richard Burrier, Azon Juan, Katy Garfield, Barion
Notes: Through a variety of interviews, journal readings, poetry performances, private home movies and never-before-seen concert footage, "Resurrection" weaves an insightful "self-portrait" of a cultural icon.
Directors: Luis Fernandez de la Reguera, Luis Fernandez de la Reguera
Notes: Features interviews with Steve Buscemi, Willem Dafoe, Julian Schnabel, Matt Dillon and Jim Jarmusch.
Directors: Mike Figgis, Marc Levin
Notes: This creation was assembled exclusively for the Sundance Film Festival and is but a glimpse of a yet unrealized and completed project. The film uses segments of "Red, White and Blues" by Mike Figgis, "The Soul of the Man" by Wim Wenders, Richard Pearce's "The Road to Memphis," Charles Burnett's "Warming by the Devil's Fire," and "Godfathers and Sons" by Marc Levin.
Directors: Ed Bell, Thomas Lennon
Cinematographers: John Torcassi, Michael Chin, Sophia Constantinou
Notes: Narrator Whoopi Goldberg's focus on the everyday lives of slaves is woven together with antebellum photographs, Depression-era film footage and lively "shout" songs to illustrate the point that is most often repeated in these firsthand accounts.
Director: Darlene Naponse
Cinematographer: Jeff Tranchemontagne
Notes: Tranchemontagne had to lens this musically-driven dramatic feature with original songs to create a journey through the consequences and realities of a rural Native community.
Director: Ivan Sen
Cinematographer: Allan Collins
Notes: Collins won the Australian Film Institute's award for best cinematography in 2002 for his work on "Beneath Clouds."
Director: Alanis Obomsawin
Cinematographers: Philippe Amiguet, Yoan Cart, Michel La Veaux
Notes: Shot on 16mm, the film has "stunning images of Mi'gmaq people and the land and sea they have always known." The film presents detailed critical analysis to question political processes and the intentions of national leaders.
Director: Shirley Cheechoo
Cinematographer: Nano Debassige
Notes: A feature-length documentary tracing the Cree philosophy of Mother Earth and the responsibilities of the Cree people to honor her. Debassige also edited the project.