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In other words, there were plenty of films that were decently good, or at least mostly harmless, but an awful lot of them were safe, what many of us have come to think of as “made for Sundance” material.There were a few standouts: Safety Not Guaranteed had a warmth and depth that went far beyond what it seemed to be on its humorous surface, and featured a far more complex and interesting performance than we’ve seen from Mark Duplass in the past.For that alone, it was one of the most exciting films of this year’s Sundance.There tends to be more buzz about the US competition categories at Sundance, but very often the more interesting and challenging selections can be found in the other sections. Elena, Andrei Zvyagintsev This lyrical, beautifully lit and shot poem of a film, which won the Jury Prize at Cannes in 2011, tells the story of Elena (Nadezhda Markina), a middle-aged woman comfortably ensconced in a marriage to a Vladimir (Andrey Smirnov), a wealthy, emotionally distant older man.For me this film fell squarely into the realm of the remarkable; in spite of some flaws in its execution, its creative scope was far beyond the way most newer filmmakers even dare to dream, and its ambition was impressive.Filmmaker Behn Zeitlin could be a flash in the pan, sure …28 Hotel Rooms One of the genuine surprises of the fest for me.
In other words, where the book never attempts objectivity because the tale being told is clearly an embellished one, here there is no observer within the story itself, leaving us to interpret the events as if they are, in fact, objective truths within the world of the story.
Their attraction to each other proves intense, though, and the two sustain an sporadic union of sorts, played out over brief one or two day dalliances over months and years, through their other relationships and respective marriages, until they finally start to realize that it’s the relationship they have with each other that really may be the most permanent one of all.