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steps down. Now, on BBC News wehave presentati | :00:08. | :00:18. | |
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presentation about Sundance Film Festival. The aim of Sundance is to | :00:25. | :00:35. | |
| :00:35. | :00:39. | ||
support new artists. It is all about the films here. Any movie | :00:39. | :00:47. | |
that goes to Sundance must be taken seriously. Welcome from Park City | :00:47. | :00:56. | |
in Utah. Today we will look back at the highlights of this year's | :00:56. | :01:00. | |
Sundance Film Festival which draws to a close this weekend. An | :01:00. | :01:05. | |
estimated 50,000 festival-goers came to celebrate the glory of | :01:05. | :01:11. | |
independent iding over the event, the Sundance founder | :01:11. | :01:17. | |
Robert Redford. The line-up of OP more than 100 full-lenes | :01:17. | :01:27. | |
is to offer something different from typical fare. I think with | :01:27. | :01:34. | |
print journalism declining, movies are playing a greater role in | :01:34. | :01:37. | |
investigative journalism, telling thout the lives that we | :01:37. | :01:47. | |
| :01:47. | :01:47. | ||
open institution, RBA feels that she would not shed duel at the | :01:47. | :01:52. | |
ceremony because they add to violence or explicit? -- that it | :01:52. | :02:02. | |
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would not share duel. -- schedule. We did not take a position on that. | :02:05. | :02:15. | |
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controversy. We want to show the variety, which I think is not been | :02:16. | :02:22. | |
done in the mainstream. No, we do not censor of violence or reading | :02:22. | :02:27. | |
whether whether it is any good, or whether | :02:27. | :02:36. | |
there is a skill there that could people in terms of numbers? The | :02:36. | :02:43. | |
Sundance Festival is a Blockbusters, however, are seen by | :02:43. | :02:48. | |
more people than all Sundance films combined. Probably. I do not | :02:48. | :02:58. | |
| :02:58. | :03:07. | ||
industry. It can accommodate thhe choices are like | :03:07. | :03:12. | |
changes changes in the market place. | :03:12. | :03:16. | |
Therefore, our mission growing, because the category is | :03:16. | :03:23. | |
growing. It is all good. People do associate you with Sundance, but | :03:23. | :03:27. | |
you are an actor. This is the first time in fivet you have | :03:27. | :03:33. | |
appeared as such. Do you welcome that? Is it a good feeling to be | :03:33. | :03:41. | |
sta film camera? Yes, I like acting, that is how I started. | :03:41. | :03:45. | |
Doing both at the same time, acting and directing is a different matter. | :03:45. | :03:50. | |
I do not know how I feel about that. I do enjoy acting, I did enjoy | :03:50. | :04:00. | |
| :04:00. | :04:02. | ||
acting in these. We have been developing these four four years. | :04:02. | :04:08. | |
lot of people like looking at you though. Thank God, because I do not. | :04:08. | :04:13. | |
Moving on to the films being shown at Sundance cc, 'My Brother The | :04:13. | :04:21. | |
Devil', the only British film. With James Floyd and Fady Elsayed living | :04:21. | :04:31. | |
| :04:31. | :04:35. | ||
in a very rough housing estate in Hackney. So you think they'd you | :04:35. | :04:45. | |
| :04:45. | :04:45. | ||
are Gandhi of Hackney? Shut up. is about one of them coming of age | :04:45. | :04:55. | |
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older brother played by James Floyd, who reveals himself as being gay, | :04:58. | :05:08. | |
| :05:08. | :05:14. | ||
the Welsh-Egyptian director has excelled at these. There is 8 | :05:14. | :05:24. | |
| :05:24. | :05:27. | ||
double homophobia in his family. It is extremely homophobic the way | :05:27. | :05:35. | |
that the boy is a treat their end the music. -- the | :05:35. | :05:38. | |
the music. -- the boy is treated and the music that goes along with | :05:38. | :05:45. | |
it. It is about truelove. The love between brothers. True love between | :05:45. | :05:51. | |
brothers. It is made clear towards the end, especially when the brother | :05:51. | :05:55. | |
brother has to make a decision whether he can except his brother | :05:55. | :06:04. | |
accept. accept. It is about them | :06:04. | :06:08. | |
confronting each other and realising they can overcome their | :06:08. | :06:18. | |
| :06:18. | :06:25. | ||
distances for. -- differences. film is about the triumph of | :06:25. | :06:29. | |
a a bleak urban landscape populated | :06:29. | :06:32. | |
by nicely portrayed underdog characters not often seen in UK | :06:32. | :06:42. | |
cinemas. We to make a lot of movies about the privileged classes. I | :06:42. | :06:46. | |
don't think there is an up of a voice showing these kinds of | :06:46. | :06:52. | |
characters. This is one of the reasons why this movie is so | :06:52. | :07:02. | |
| :07:02. | :07:04. | ||
acting and directing. It faces a strong challenge. It uses the language | :07:04. | :07:08. | |
language of the streets. It is sometimes hard to understand what | :07:08. | :07:12. | |
the characters are saying. It may damage the commercial prospects of | :07:12. | :07:22. | |
| :07:22. | :07:26. | ||
the film. In blizzard light conditions in the first weekend of | :07:26. | :07:36. | |
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the festival, the screenings with | :07:38. | :07:48. | |
with Sean Penn. My music teacher said that once you learnt how to | :07:48. | :07:58. | |
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is a fiercely individualistic look at a man on a quest put together by | :07:58. | :08:08. | |
| :08:08. | :08:13. | ||
the Italian director Paolo Sorrentino. lturalism of | :08:13. | :08:23. | |
| :08:23. | :08:24. | ||
American films is the mealy extraordinary depth of film-making | :08:24. | :08:31. | |
around the world -- immediately. Such as the m Festival. | :08:31. | :08:38. | |
You really see what we're missing in America. While Americans inward- | :08:39. | :08:42. | |
looking in their appreciation of movies? Are they not aware of what | :08:42. | :08:49. | |
is happening in the rest of the what? There is an inherent | :08:49. | :08:59. | |
arrogance and puritanical blindnand and an identity seeking that seems | :08:59. | :09:09. | |
| :09:09. | :09:10. | ||
is to the detriment of our culture. Sean Penn is no stranger to making | :09:10. | :09:16. | |
political points. He has been critical of American ficy. | :09:16. | :09:25. | |
He went to Sundance Film Festival on the way to Haiti. You are very | :09:25. | :09:32. | |
involved in social and political use movies tyour opinion | :09:32. | :09:42. | |
| :09:42. | :09:42. | ||
been driven by a changing people's minds | :09:43. | :09:52. | |
| :09:53. | :09:53. | ||
about something. I like to go off on something that has an emotional | :09:53. | :10:00. | |
twist to it. If it has the added clarity of those kind of connotations | :10:00. | :10:08. | |
connotations and that is gravy. I would be drawn to was the polemics. | :10:08. | :10:18. | |
| :10:18. | :10:24. | ||
-- ire will not be drawn to the polemic. If the festival was | :10:24. | :10:29. | |
transformed by the snow, then some actors used Sundance to transform | :10:29. | :10:39. | |
th image. These teams to be the case for Rebecca Hall opera | :10:39. | :10:49. | |
| :10:49. | :10:49. | ||
Sirte Bruce Willis. -- opposite. It was good news for Rebecca Hall who | :10:49. | :10:53. | |
shows that she came create an entirely fresh, vivacious character | :10:53. | :10:59. | |
based on a real person. She plays a prostitutes and stripper in the | :10:59. | :11:09. | |
| :11:09. | :11:10. | ||
movie. She is very effervescent and bubbly. She is like a seven-year- | :11:10. | :11:16. | |
old girl on something. You would adding | :11:16. | :11:21. | |
adding to plus two. Believe that that apparel, she is possibly be | :11:21. | :11:28. | |
sharp as person you're ever likely to meet. In terms of mentally | :11:28. | :11:38. | |
| :11:38. | :11:43. | ||
sit around the fire drinking? at the mountain's from a small room | :11:44. | :11:53. | |
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documentary that got off to a very good start was searching for Sugar | :11:57. | :12:01. | |
man, which got picked up in a distribution deal on the second day | :12:01. | :12:11. | |
| :12:11. | :12:12. | ||
of the festival. There is a new Detroit's | :12:12. | :12:22. | |
| :12:22. | :12:29. | ||
Detroit's Bob Dylan. Rodriguez's rded in 1970. | :12:29. | :12:39. | |
| :12:39. | :12:40. | ||
He deliverednd songwriting that was very engaging. | :12:40. | :12:50. | |
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His voice gets very close to you. He speaks directly to your heart. | :12:57. | :13:03. | |
Rodriguez's recordings I did make it to South Africa. He developed a | :13:03. | :13:11. | |
very strong following there. became more famous than the Rolling | :13:11. | :13:16. | |
Stones. He became a very important figure for the anti- apartheid | :13:16. | :13:26. | |
| :13:26. | :13:32. | ||
Movement. Ros very importantly political. -- important | :13:32. | :13:42. | |
politically. The film follows the to | :13:42. | :13:45. | |
to it under -- to uncover the mysterious story of Rodriguez. | :13:45. | :13:52. | |
Legend had that he died in would be relatively easy to track | :13:52. | :14:02. | |
| :14:02. | :14:03. | ||
down what happened. This was South Africa during the apartheid era. | :14:03. | :14:13. | |
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They were completely isolated. Tthought thought he was dead. He had | :14:13. | :14:17. | |
committed suicide. There were different versions as to how he had | :14:17. | :14:27. | |
| :14:27. | :14:36. | ||
grotesque suicide in rock history. To recount the full story of Rodrigues | :14:36. | :14:44. | |
Rodrigues would be to it spoil the surprise. He emerged as a man of | :14:44. | :14:51. | |
humility and great integrity. This brings | :14:51. | :15:01. | |
| :15:01. | :15:03. | ||
brings his talents to a wider audience. | :15:03. | :15:07. | |
4th 4th heart -- forthcoming Hobbit | :15:07. | :15:17. | |
| :15:17. | :15:19. | ||
films, Peter Jackson was a Sundance examination into the background of | :15:19. | :15:24. | |
the so-called West Memphis Three. They were found guilty in Arkansas | :15:24. | :15:28. | |
of 1993 grisly murders of three young boys. The alleged innocence | :15:28. | :15:33. | |
ofas been championed by celebritie | :15:33. | :15:43. | |
| :15:43. | :15:43. | ||
To my mind, it is a case you learn from. It is not just about these | :15:43. | :15:49. | |
three guys and the three boys who were killed. It is about the way | :15:49. | :15:56. | |
the justice system can derail. It can show us how easily that can | :15:56. | :16:06. | |
| :16:06. | :16:11. | ||
happen. There had been a three-part documentary series on the case, this | :16:11. | :16:15. | |
this new Endeavour introduces some powerful testimony, putting its | :16:15. | :16:24. | |
finger at a possible suspect. It is extremely coe. We were | :16:24. | :16:28. | |
shooting for almost two years. There was a massive amount of work. | :16:28. | :16:36. | |
How balanced is the Denmark -- and the documentary? A lot of people | :16:36. | :16:41. | |
believe they are guilty. We were looking for the truth. That's all | :16:41. | :16:47. | |
that really matters. It is about finding the truth. All sides will | :16:47. | :16:52. | |
tell you tha so much conflicting story. So many problems | :16:52. | :17:00. | |
with the original case. The three men were finally freed last August | :17:01. | :17:07. | |
after being imprisoned for 18 years. precedent, | :17:07. | :17:09. | |
precedent, they were allowed to assert their innocence while | :17:09. | :17:17. | |
pleading guilty in exchange to their freedom. One of the convicted | :17:17. | :17:25. | |
and now freed men is Damien Echols, also credited as a coal producer. - | :17:25. | :17:31. | |
- as a producer. It is not like you were fully pardoned? No, we were | :17:31. | :17:37. | |
not. We want to be completely and absolutely exonerated. We will keep | :17:37. | :17:47. | |
| :17:47. | :17:50. | ||
conducting these investigations until that happens. There has just | :17:50. | :17:56. | |
got to be a happy ending to this. When Sundance began more than 30 | :17:56. | :18:01. | |
years ago, it was a distinctly American institution. Now these | :18:01. | :18:05. | |
days it has changed. The ONS are This | :18:05. | :18:15. | |
| :18:15. | :18:16. | ||
selected from 30 countries. From South Asia came Valley Of Saints. | :18:16. | :18:26. | |
| :18:26. | :18:28. | ||
The film's focus is on relationships. Gulzar, a boatman, | :18:28. | :18:38. | |
is becoming acquainted with Asifa, who engages in environmental work. | :18:38. | :18:42. | |
He has sinkhole fit, he has in pohas seen his dreams of | :18:42. | :18:50. | |
ballot -- vanish. Kashmir to him and this lake, it is a reminder of | :18:50. | :18:54. | |
all these negative things. As a FARC is coming from a different | :18:54. | :19:04. | |
| :19:04. | :19:09. | ||
perspective. She is an outsider. -- Asifa. That is the tension between | :19:09. | :19:18. | |
them. Gulzar feels a start in a place and Asifa is an outsider | :19:18. | :19:28. | |
| :19:28. | :19:29. | ||
coming in. Gulzar is also very close to his childhood friend, | :19:29. | :19:39. | |
| :19:39. | :19:44. | ||
Avtar Singh-Kolar. -- Afzal. I I think they are understandable and | :19:44. | :19:54. | |
| :19:54. | :19:56. | ||
choice, he go with his best friend, or does | :19:56. | :20:00. | |
he stay in his home where he has already had so many negative | :20:00. | :20:10. | |
| :20:10. | :20:12. | ||
memories? But he can still find a I hope the film conveys a message | :20:12. | :20:22. | |
| :20:22. | :20:24. | ||
of hope. That there is an aspect of human resistance. -- resilience. | :20:24. | :20:28. | |
Even in the mist of conflict, people still find a waand | :20:28. | :20:34. | |
survive and thrive. There is apt in this place, despite the destruction, | :20:34. | :20:43. | |
there is still love in this place. It is a message of human resilience. | :20:43. | :20:51. | |
And how that is mirrored in the environment. | :20:51. | :21:00. | |
The Sundance picture is poetic and moving. It also presents the beauty | :21:00. | :21:05. | |
of an environment, Dal Lake, which is not often captured on film. | :21:05. | :21:09. | |
That brings our look back on thiyear's year's Sundance Film Festival to a | :21:09. | :21:15. | |
close. We are going to leave you with a clip from the Sundance's | :21:15. | :21:25. | |
| :21:25. | :21:34. | ||
music themed documentary, Searching Fo Fo | :21:34. | :21:38. | |
# Was it a huntsman or a player # That made you pay the cost | :21:38. | :21:43. | |
# That now assumes relaxed position # And prostitutes your loss? | :21:43. | :21:45. | |
# Were you t your own thirst | :21:45. | :21:50. |