The actors, directors, and artists you need to know from this year's Sundance Film Festival.
Thomas Mann's upcoming filmography is a little overwhelming. Although the 23-year-old actor has only appeared in a handful of films to date, he has 10 films currently awaiting release.
"I think Sundance is one of my favorite festivals to go to even though it's manic," says Irish actress Saoirse Ronan. "It has more of the atmosphere of what it's like on a film set—it's not glamorous, there are no big, glitzy premieres, we're all dressing the way we'd dress if we were going to work."
When it comes to virtual reality, there are no codes and expectations; there is no tradition that separates audience and action.
Aloft is a lyrical meditation on pain that comes with human fragility.
At Sundance last week, you heard people recommending Dope to fellow festival-goers so often that it became conspicuous—in corporate gifting suites, on the street, at dark and noisy parties, and in line for other films.
99 Homes, the new film from writer-director Ramin Bahrani, begins with a single, three-minute shot. About to be evicted, a man has just killed himself in the bathroom of his Florida family home.
In a perfect world, Bel Powley would do one play a year in London or New York.
Adults, boys, and white people scarcely show up on screen in the Girlhood's two-hour runtime as director Céline Sciamma follows her protagonist, Vic (played by Karidja Touré), through her teens in the mostly black and working-class suburbs of Paris.
There are plenty of relationship-for-asshole movies, but when's the last time you saw a love story that was both funny and reassuring?
Patrick Brice insists that his ironic comedy The Overnight is actually very earnest. "The bottom line," he says, wholesomely, "is that it's about love."
It speaks to the realism of Sean Baker's Tangerine, which premiered at Sundance last week, that a bus driver called the cops on two of his actors when she saw them fighting (for Baker's cameras) in her rear-view mirror.