Sundance Film Festival

Crystal Moselle’s Skate Kitchen is almost the perfect Sundance film.

First, it is written, produced and directed by a woman—one of some 45 features at Sundance directed by women this year of the 120 spread out over nine main sections, including US and international feature and documentary competitions. Second, it’s characters and milieu are quintessentially young, mostly broke and minority born. Thirdly, it’s proudly no-budget.

NEON

2017 was, all in all, a good year for movies. The quest for the perfect too often drives out the arrival of the merely wonderful and good in parts. We’ve been hectored by the self-esteem tyrants that we are sublime creatures who deserve only the very best every second of the 24-hour day — in food, clothes, cars, beds, books (whatever they were), TV, and seats at spectacles, music, and movies. The demand for perfect self-offerings prevents us from appreciating what is merely wonderful and good in parts. We short change ourselves that way, particularly when it comes to film.

Harlan Jacobson
Susan Jacobson for WBGO

What a work of man Sundance is, namely Robert Redford. It’s his legacy, after all, far more than the Way We Were or All the President’s Men or that near-silent film he starred in, ALL IS LOST, as a sailor adrift at sea. The 33rd Sundance Film Festival wraps up this weekend.

If you stop thinking of film as art—the 7th art, in fact—which the majority of Americans don’t anyway—and think of it for a second as a product, Sundance didn’t invent the independent film. But it did find a way to make it a business.