Shorts Awards at 2018 Sundance Film Festival

(L-R) Matria, Credit: Lucia C. Pan; Hair Wolf, Credit: Charlotte Hornsby; Would You Look At Her, Credit: Courtesy of Sundance Institute.

Park City, Utah — Winners of the 2018 Sundance Film Festival jury prizes in short filmmaking were announced on Jan 23, by Sundance Institute at a ceremony in Park City, Utah. The Short Film Grand Jury Prize, awarded to one film in the program of 69 shorts selected from 8,740 submissions, went to Matria, written and directed by Álvaro Gago. Full video of the ceremony is at youtube.com/sff. The Short Film program is presented by YouTube, as part of their ongoing support for emerging storytellers, unique voices and independent artists. 2018 marks the sixth year YouTube has been the official sponsor of the Sundance Film Festival Shorts program.

This year's Short Film jurors are Cherien Dabis, Shirley Manson and Chris Ware.

Short Film awards winners in previous years include And so we put goldfish in the pool. by Makato Nagahisa, Thunder Road by Jim Cummings, World of Tomorrow by Don Hertzfeldt, SMILF by Frankie Shaw, Of God and Dogs by Abounaddara Collective, Gregory Go Boom by Janicza Bravo, The Whistle by Grzegorz Zariczny, Whiplash by Damien Chazelle, FISHING WITHOUT NETS by Cutter Hodierne, The Tsunami and the Cherry Blossom by Lucy Walker and The Arm by Brie Larson, Sarah Ramos and Jessie Ennis.

The short film program at the Festival is the centerpiece of Sundance Institute’s year-round efforts to support short filmmaking. Select Festival short films are presented as a traveling program in over 70 cities in the U.S. and Canada each year, one of the few theatrical releases of short films in North America. Short films and filmmakers also take part in regional Master Classes geared towards supporting emerging shorts-makers in cities around the country.

2018 Sundance Film Festival Short Film Jury Awards: 

The Short Film Grand Jury Prize was awarded to: Matria / Spain (Director and screenwriter: Álvaro Gago) — Faced with a challenging daily routine, Ramona tries to take refuge in her relationships with her daughter and granddaughter.

The Short Film Jury Award: U.S. Fiction was presented to: Hair Wolf / U.S.A. (Director and screenwriter: Mariama Diallo) — In a black hair salon in gentrifying Brooklyn, the local residents fend off a strange new monster: white women intent on sucking the lifeblood from black culture.

The Short Film Jury Award: International Fiction was presented to: Would You Look at Her / Macedonia (Director and screenwriter: Goran Stolevski) — A hard-headed tomboy spots the unlikely solution to all her problems in an all-male religious ritual.

The Short Film Jury Award: Non-fiction was presented to: The Trader (Sovdagari) / Georgia (Director: Tamta Gabrichidze) — Gela sells secondhand clothes and household items in places where money is potatoes. 

The Short Film Jury Award: Animation was presented to: GLUCOSE / U.S.A. (Director and screenwriter: Jeron Braxton) — Sugar was the engine of the slave trade that brought millions of Africans to America. Glucose is sweet, marketable and easy to consume, but its surface satisfaction is a thin coating on the pain of many disenfranchised people.

A Special Jury Award was presented to: Emergency / U.S.A. (Director: Carey Williams, Screenwriter: K.D. Dávila) — Faced with an emergency situation, a group of young Black and Latino friends carefully weigh the pros and cons of calling the police.

A Special Jury Award was presented to: Fauve / Canada (Director and screenwriter: Jérémy Comte) — Set in a surface mine, two boys sink into a seemingly innocent power game, with Mother Nature as the sole observer.

A Special Jury Award was presented to: For Nonna Anna / Canada (Director and screenwriter: Luis De Filippis) — A trans girl cares for her Italian grandmother. She assumes that her Nonna disapproves of her – but instead discovers a tender bond in their shared vulnerability.
 

The Sundance Film Festival®
The Sundance Film Festival has introduced global audiences to some of the most groundbreaking films of the past three decades, including Boyhood, Beasts of the Southern Wild, Fruitvale Station, Whiplash, Brooklyn, Twenty Feet from Stardom, Life Itself, The Cove, The End of the Tour, Blackfish, Me and Earl and the Dying Girl, Dope, Little Miss Sunshine, sex, lies, and videotape, Reservoir Dogs, Hedwig and the Angry Inch, An Inconvenient Truth, Precious and Napoleon Dynamite. The Festival is a program of the non-profit Sundance Institute®. 2018 Festival sponsors include: Presenting Sponsors – Acura, SundanceTV, and Chase Sapphire®; Leadership Sponsors – Adobe, Amazon Studios, AT&T, DIRECTV, Dropbox, Omnicom, Stella Artois® and YouTube; Sustaining Sponsors – Canada Goose, Canon U.S.A., Inc., Dell, Francis Ford Coppola Winery, GEICO, Google Pixel 2, Grey Goose Vodka, High West Distillery, IMDbPro, Lyft, Unity Technologies and the University of Utah Health; Media Sponsors - Los Angeles Times, The New York Times and Variety. Sundance Institute recognizes critical support from the Utah Governor's Office of Economic Development, and the State of Utah as Festival Host State. The support of these organizations helps offset the Festival’s costs and sustain the Institute's year-round programs for independent artists. Look for the Official Partner seal at their venues at the Festival. sundance.org/festival

Sundance Institute
Founded in 1981 by Robert Redford, Sundance Institute is a nonprofit organization that provides and preserves the space for artists in film, theatre, and new media to create and thrive. The Institute's signature Labs, granting, and mentorship programs, dedicated to developing new work, take place throughout the year in the U.S. and internationally. The Sundance Film Festival and other public programs connect audiences to artists in igniting new ideas, discovering original voices, and building a community dedicated to independent storytelling. Sundance Institute has supported such projects as Beasts of the Southern Wild, Fruitvale Station, Sin Nombre, The Invisible War, The Square, Dirty Wars, Spring Awakening, A Gentleman’s Guide to Love and Murder and Fun Home. Join Sundance Institute on Facebook, Instagram, Twitter and YouTube.

Ariel Marx, composer of "The Tale" #Sundance

Featured as one of ASCAP's Composers to Watch and recipient of the ASCAP Foundation Henry Mancini Fellowship, Ariel Marx is an award-winning composer and multi-instrumentalist for film, TV, and multimedia. Most recently, Ariel completed the score for two projects that will premiere at the 2018 Sundance Film Festival, Jennifer Fox’s “The Tale” starring Laura Dern, Jason Ritter, and Common and “Hair Wolf” a short film that takes places in gentrifying Brooklyn. She has also scored dramas “West of Her” and “By Jingo.” Outside of film, she has scored television series including comedy series “UnChartered” and “The Pioneers.” Ariel has additionally contributed to “Blind” starring Demi Moore and Alec Baldwin, and assisted composer Marcelo Zarvos on Showtime’s “The Affair” starring Dominic West and Ruth Wilson, as well as, Amazon’s “Z: The Beginning of Everything” starring Christina Ricci and “Wonder” starring Julia Roberts and Owen Wilson.

Her scores have premiered alongside films at national and international film festivals, such as Sundance, Tribeca, and SXSW—winning awards at several for her musical contributions. Ariel draws from many different genres and often combines orchestral and folk instruments with electronics to create unique worlds of sound. Ariel earned her Masters of Music degree in composition with a concentration in film scoring from New York University's Steinhardt program, and is currently an Adjunct Faculty.

We had a chat with Ariel, here are the excerpts.

• What's your process of composing music for a film. Do you read the script, collaborate with director, and what more/else?

It really depends from project to project, and what stage of the process I come in at. For instance, on a film I’m currently working on, I was able to read the script before it was filmed and visit the set. With “The Tale,” the film had already been shot and edited, so I was working with a final product. Regardless of what stage I come in at, to me, the most important step is determining the palette. What is the tone of the score? What instrumentation? What sort of presence will it have? After these larger aesthetics are established, I dive into writing specific themes and scoring individual scenes, always keeping the bigger picture in mind. 

• What was the most challenging part of working on this particular film?

Perhaps the most challenging aspect of scoring this film was to convey the complexity of the mechanics of memory and perspective through music. I ultimately settled on writing a score that had several individualized, self-sustaining motors — or spinning gears — that could interlock and separate and join again, transformed — just like our memories, and perceptions of them. 

• What are your favorite films (from music perspective) and your favorite composers?

This is a hard question because there are so many incredible working composers. This answer could really change from day to day, but in this moment, my two answers are the collaborations between composer Jonny Greenwood and director Paul Thomas Anderson and director Joe Wright and composer Dario Marianelli. 

• What's your advice to other aspiring musicians and composers who want to break into this business?

The best advice I received was that no one gets into this business the same way — there is no formulaic strategy to success. This has always inspired me because there is no uniform checklist of pre-requisites, and therefore you have to be your own trailblazer. All of the opportunities that have come my way are from connections I made with new filmmakers in New York City while I was in school. My best advice is to develop a unique and authentic voice, find kindred collaborators that create stories that inspire you, and push yourself to grow as a composer and collaborator. 

Anne Nikitin, composer of "American Animals" #Sundance

Anne Nikitin is an award-winning composer for film and television. Anne recently completed
the score for “American Animals,” starring Emmy-winner Ann Dowd and premiering at the
2018 Sundance Film Festival. Anne also scored Bart Layton’s BAFTA winner “The Imposter,” the Sundance Audience Award winner “Dark Horse,” the Netflix true crime series “Captive,” and the German film “Freistatt,” which was shortlisted for a Best Foreign Language Film Oscar. In 2015, Anne scored “Chuck Norris vs. Communism,” which premiered at Sundance and
is now on Netflix.

Anne has scored numerous high-profile television series and films in genres ranging from
natural history to documentary and drama. They include “BBC Natural World,” “Locked
up Abroad,” “America: The Story of Us” and the television movie “Revelation: The End
of Days II,” which was nominated for a Music+Sound Award for Best Television Soundtrack. Anne’s score for “This Beautiful Fantastic,” starring Jessica Brown Findlay and Tom Wilkinson, was nominated for a Music+Sound Award and a Hollywood Music in Media Award. Outside of television and film, Anne worked with the London Contemporary Orchestra on the score for the Damien Hirst film “Treasures from the Wreck of the Unbelievable.” Her upcoming project “Calibre,” starring Jack Lowden and Martin McCann, will be released in 2018.

We had a chat with Anne, here are the excerpts.

• What's your process of composing music for a film? Do you read the script, collaborate with director, and what more/else?

The process tends to differ from project to project largely depending on how the director likes to work and when they are ready to bring a composer on board. Sometimes I start very early on. I read a script and sketch ideas before the film has been shot. Sometimes they wait until the very end of the edit, when there’s a locked version of the film.  It seems most common to come on board during the first few weeks of the edit, when there’s a rough assembly that they can show me.  

There are pros and cons with each scenario, but the earlier you start the more time you have to experiment.  It’s good to have time to show the director a range of ideas – sometimes surprising them with something they didn’t know they wanted and coming up with something original!  “Tempitis” is a real danger – when you come on board late and the director has fallen in love with temp music.  

Once I start, it’s a very collaborative process. I have ongoing discussions with the director and editor until the very end. It feels like you’re embarking on a journey together.

• What was the most challenging part of working on this particular film?

This is a film with many complex layers so the challenge was to create a diverse score that somehow sounded homogenous. There are a wide range of emotions to score, with four very different characters, so I had to strike the right balance between tension, sadness and humor, and give each character an appropriate musical flavor. “American Animals” is also “a movie within a movie”, and pays homage to other periods and genres, so the score had to play with this idea. Lastly, it’s a film that dips in and out of real life interviews, so music was used to help transition in and out of a documentary-based world, without jolting the audience out of the drama.

• What are your favorite films (from music perspective) and your favorite composers?

I’ll never forget the first film that made me sit up and listen to the score, which was “The Piano,” with music by Michael Nyman. It was such a mesmerizing marriage between film and music - something just clicked, and I thought “that’s what I want to do!” In terms of favorite composers, I adore Thomas Newman (“Road to Perdition” is an all-time favorite score of mine.)  I also love “Blade Runner” for how the music helps create the atmosphere of the film.

Most recently, I’ve been enjoying music by a rising crop of composers such as Johann Johannsson, Jed Kurzel, Max Richter, Dustin O’ Halloran. I thought Johansson’s scores for “Arrival” and “Sicario” were spine-tingling and helped bring those films to life.  It’s exciting to hear film music being extra inspired and eclectic these days. Anything goes!

• What's your advice to other aspiring musicians and composers who want to break into this business?

It’s a very competitive field. You have to be dedicated, determined and very patient. It took me years of blood, sweat and tears before I got my first commission. “Practicing” film scoring might sound like a strange concept, but it’s actually very important. Try to score as many short films as possible to gain experience scoring pictures. This also helps you develop your own voice and versatility, and gives you more confidence when you land your first commission. A positive attitude when meeting directors and producers always helps. Hanging out with other composers can be your salvation. You can learn from each other, support each other, share work and even collaborate.

Select "Black Films" at Sundance 2018 (Jan 18-28)

There will never be a shortage of creativity to come from African American community.  The annual Sundance Film Festival, taking place January 18 to 28 is just one piece of compelling evidence to back up this aforementioned statement.

Festival premieres include a new work by Boots Riley, “Sorry to Bother You”, starring Lakeith Stanfield, Tessa Thompson, and Omari Hardwick and a documentary on Sri Lankan artist and musician M.I.A.  We also get two special events: Spike Lee’s PassOver and RuPaul’s Drag Race: A Retrospective of the Cultural Phenomenon.

There are 27 feature length films and 10 shorts offered.  Here are our picks for films to check out at the 2018 Sundance Film Festival.

Blindspotting

A buddy comedy in a world that won't let it be one. Starring Daveed Diggs, Rafael Casal, Janina Gavankar , and Jasmine Cephas Jones.

Burden

After opening a KKK shop, Klansman Michael Burden falls in love with a single mom who forces him to confront his senseless hatred. Starring Forest Whitaker and Usher Raymond.

The Miseducation of Cameron Post

Circa 1993: after being caught having sex with the prom queen, a girl is forced into a gay conversion therapy center. Based on Emily Danforth's acclaimed and controversial coming-of-age novel.

Monster

“Monster” is what the prosecutor calls 17 year old honors student and aspiring filmmaker Steve Harmon. Charged with felony murder for a crime he says he did not commit.  Starring Kelvin Harrison Jr., Jeffrey Wright, and Jennifer Hudson.

Monsters and Men

This interwoven narrative explores the aftermath of a police killing of a black man. Starring Anthony Ramos.

Sorry to Bother You

In an alternate present-day version of Oakland, black telemarketer Cassius Green discovers a magical key to professional success – which propels him into a macabre universe. Starring Tessa Thompson, Steven Yeun, and Omari Hardwick.

TYREL

Tyler spirals out of control when he realizes he’s the only black person attending a weekend birthday party in a secluded cabin. Starring Jason Mitchell.

Crime + Punishment

Over four years of unprecedented access, the story of a brave group of black and Latino whistleblower cops and one unrelenting private investigator who, amidst a landmark lawsuit, risk everything to expose illegal quota practices and their impact on young minorities.

MATANGI / MAYA / M.I.A.

An intimate look into the life of Sri Lankan artist and musician M.I.A using personal footage spanning decades.

A Boy, A Girl, A Dream

Directed by Qasim Basir. On the night of the 2016 Presidential election, Cass, an L.A. club promoter, takes a thrilling and emotional journey with Frida, a Midwestern visitor. Starring Omari Hardwick, and Meagan Good.

Night Comes On

Angel LaMere is released from juvenile detention on the eve of her 18th birthday. Haunted by her past, she embarks on a journey with her 10 year-old sister.

I Am Not a Witch

After a minor incident, nine-year old Shula is exiled to a witch camp where she is told that if she escapes, she'll be transformed into a goat.

King In The Wilderness

A portrait of the last years of Martin Luther King, Jr.’s remarkable life.

Come Sunday

Internationally-renowned pastor Carlton Pearson — experiencing a crisis of faith — risks his church, family and future when he questions church doctrine and finds himself branded a modern-day heretic. Based on actual events. Starring Chiwetel Ejiofor, Danny Glover, and Condola Rashad.

Pass Over / U.S.A

This special event is created by Spike Lee, Danya Taymor and Antoinette Nwandu

A provocative riff on Waiting for Godot, capturing the poetry, humor and humanity of this urgent and timely play about two young black men talking shit, passing the time and dreaming of the promised land. Starring Jon Michael Hill, Julian Parker, Ryan Hallahan, and Blake DeLong.

RuPaul’s Drag Race: A Retrospective of the Cultural Phenomenon

A retrospective of VH1’s Emmy-winning “RuPaul’s Drag Race” on the heels of its10th season, and a panel hosted by RuPaul with executive producers Randy Barbato and Fenton Bailey, along with Tom Campbell and Pamela Post, senior vice president of Original Programming for MTV, VH1 and Logo.

Leimert Park

Directed by producer Mel Jones. Things get complicated when three friends share a house in South LA’s Leimert Park.

Dinner Party

A short virtual reality thriller that dramatizes the incredible story of Betty and Barney Hill, who in the 1960's reported the first nationally known UFO abduction case in America.

Masters of the Sun

In1983, Los Angeles was spared from utter destruction driven by an ancient evil. The ghetto became ground zero for drug epidemic that transformed citizens into soul-sucking zombies.