For fans of independent films, now might be the time to feel vindicated. The transition from the realm of indie to the studio system isn’t a new concept by any means, but in the last several years cutting one’s teeth on the festival circuit has become very lucrative for some directors. Gareth Edwards went from making the low-budget Monsters in 2010 to helming the Godzilla reboot 4 years later (and in doing so went from a 6-figure budget to a 9-figure one); Marc Webb leapt from the twee (500) Days of Summer to taking over Sony’s Spider-Man reboot The Amazing Spider-Man; James Gunn went from R-rated genre fare to handling Marvel’s Guardians of the Galaxy; Rian Johnson, who already made a big leap from Brick to Looper, launched into the stratosphere when he was picked to direct the 8^th episode of Star Wars; and most recently, Safety Not Guaranteed’s Colin Trevorrow followed up his début with none other than Jurassic World. The glamour of Hollywood is merging with the not so glamorous world of DIY filmmaking, and it’s clearly working out for both the directors and the studios.

It’s natural to wonder how the influx of relatively new directors from festivals like Sundance or SXSW might change the blandness of Hollywood tentpoles, but it might be better to start asking about the other side of this equation. What does this mean for independent films, and will it change the way we perceive indies? Independent films don’t have an industry as vast or profitable as the studios, which means that the indie “system” is much more malleable and, therefore, easier to change.

And it’s evident that, despite the financial success of films like Jurassic World and Godzilla, artistic success is hard to find in this new trend. The boundaries between mainstream and independent have been slowly merging together, but the entire idea of indie has been about separating from the mainstream, and providing an alternative to films designed by committee. What’s happening now is a slow, disparaging shift in what indie means, and an increase in power and control for Hollywood. Indie directors aren’t infiltrating the system; they’re being devoured by it.

Jurassic World and Godzilla

That hasn’t always been the case. The early ’90s saw the success stories of Quentin Tarantino, Robert Rodriguez and Kevin Smith. For those three filmmakers, their situation was the ideal. Rather than adapt themselves to the status quo, they were able to apply their distinct styles on a bigger scale. But the film industry is a different beast today. Tarantino, Rodriguez and Smith directed their own original stories and didn’t work with a massive budget. Today, directors are getting scooped up to take over other people’s properties, and the budgets go well past 100 million. It’s nice to think that a certain filmmaker’s unique or irreverent style might successfully port over to the sequel/prequel/reboot/adaptation/etc. blockbuster, but it’s not likely. Investors would be insane to hand over that amount of cash to someone who’s only worked with a small fraction of that money.

All someone has to do is watch what’s been released so far to see how much these director’s distinct qualities from their earlier work(s) have been drowned out by the wants and needs of those truly running the show. Watch Godzilla, or James Gunn’s Guardians of the Galaxy, and it’s like playing a game of “Where’s Waldo?” with directorial trademarks. Gunn may have been able to cast Michael Rooker in a supporting role—a part that could have gone to anyone and no one would have blinked—but Guardians follows a very clear, familiar and formulaic path, one that also helped Marvel continue building the overall story for their massively successful franchise. It didn’t come as a huge surprise when rumours started that Edgar Wright, one of the best genre filmmakers working today, bailed on Ant-Man because Marvel wanted a Marvel movie, not an Edgar Wright movie.

So this brings me back to the first question I asked: What does this mean for independent films? What this new trend has done is turn film festivals like Sundance and SXSW—places designed to celebrate and promote distinct, independent voices—into training grounds for the next studio workman (with extra emphasis on man, as Jessica Ritchey points out). Now, indie features act as showreels or auditions, with people speculating over which directors will get hurled into the maw of the next big-budget property. And by putting the emphasis on this, it pushes the truly independent American filmmakers working today—the Andrew Bujalskis, the Josephine Deckers, the Rick Alversons, the Alex Ross Perrys, the Sean Bakers, the Nathan Silvers, and the Matthew Porterfields, to name a few—even further into the fringe. People look at the trajectories of people like Trevorrow, Edwards, Johnson, Webb, Gunn and others as a sign of indie taking over the mainstream, but it’s more like the mainstream assimilating the indie universe. The pockets of Hollywood studios may be getting bigger, but the opportunity for discovering and supporting groundbreaking new talents appears to be getting smaller with every year.

Best known as one of the pioneers of the indie mumblecore movement, Andrew Bujalski (Funny Ha Ha, Computer Chess) attempts to cross over to the commercial world with Results, a romantic comedy featuring professional actors with a budget that appears larger than all of his previous work combined. In true Bujalski fashion, the writer-director offers socially awkward characters the freedom to roam in a loosely defined script. But the shapeless structure loses steam half-way through, and never fully picks back up by the end.

Recent divorcé Danny (Kevin Corrigan) relocates to Austin, Texas with a ton of inheritance money but no one to spend it with. Danny is so lonely in his vacant mansion that he’s willing to pay $200 for a stranger off Craigslist to hook-up his TV set, his only interaction with a human that day. He decides to visit a local gym, mostly because he’s bored out of his mind and just wants company. His lack of motivation is clear from the beginning, “I’m hoping to get in shape a little bit,” he says to gym owner Trevor (Guy Pearce). Lucky for him, the trainer assigned to him is the strong-willed and gorgeous Kat (Cobie Smulders). As with most romantic comedies, it’s not hard to see where the story is heading.

A few workout sessions into his new regimen and Danny develops an attraction towards Kat, and although she can do a million times better than this overweight depressed guy, she seems into him. But Danny doesn’t have a beat of romantic rhythm in his bones, and is about as smooth as sandpaper. On a night scheduled for a workout, he surprises Kat with an intimate candlelit dinner and live music. For Kat, it feels more like an ambush, and she makes a beeline for the exit.

Bujalski reveals Kat’s habit of crossing the line in professional relationships from the beginning. If a client skips out on payment or threatens to drop her as their trainer, she stands her ground and refuses to accept no for an answer. At other times, her cute looks and welcoming spirit leads her into dicey situations; it’s not surprising to discover she once had a fling with her boss Trevor, a revelation which makes for awkwardness when the three start hanging out.

While Results doesn’t follow standard genre tropes by forming a love triangle and pitting the three characters against each other, the film’s alternative isn’t necessarily better. An unlikely circle of friendship develops too conveniently, and no one is held accountable for their actions. It’s far-fetched enough that Kat would make a move on Danny in the first place, but it’s worse when she’s quick to forgive him for every mistake. Even more implausible is the dynamic between Trevor and Danny. Their polarizing personalities and shared love interest in Kat make them perfect rivals, and yet they become best friends despite any convincing logic.

The characters found in Results are well-developed, each with their own complicated backstories and unique personalities. Danny’s attempts to fix any situation with money is performed with just the right amount of comic delivery from Corrigan. Smulders is excellent as Kat, the disciplined but self-sabotaging romantic who trusts people a little too much. And Pearce is surprisingly the least impressive of the bunch, he’s so grounded compared to the others he ends up flattening them all out.

Unfortunately, Bujalski has difficultly using the combined skills of his cast to form a meaningful story. He goes through all the trouble of detailing these characters, but then doesn’t take them anywhere. And without sparks of chemistry or cohesion, the talented individual performances feel wasted. Whatever it’s attempting, Results fails to utilize its awkward scenarios and abundant talent to add pep to a stagnant romantic comedy scenario.

Guy Pearce is awesome. When he shows up, we show up, ticket in hand. Even in the smallest roles he has a way of breathing a little something special into the picture, whether it be falling apart around him or a good film he’s just made great (must-sees include: Animal Kingdom and The Rover). Cobie Smulders, on another hand, is something of an unknown factor. How I Met Your Mother was never too good, and never truly terrible, but the role didn’t give her much to work with. And neither has her work in the Marvel universe. Both of these factors are just two of the reasons to take a look at the new trailer for the Sundance 2015 hit, Results.

The log line for Results is rather simple: the film follows  Kat (Smulders) and Trevor (Pearce), two personal trainers who get caught up in the messy life of new-client Danny (Kevin Corrigan). Ideally, humor, maturing, and something heartfelt follow.

Written and directed by Andrew Bujalski (the “godfather of mumblecore”: Funny Ha Ha and Mutual Appreciation), Results is his first foray into the territory of professional actors–a trick that’s brought endless returns for other mumblecore vets. Joining the three principals are Brooklyn Decker, Giovanni Ribisi, and Anthony Michael Hall.

The word out of Sundance was quiet, but positive, so count us in. Results arrives May 29th.

Results trailer

Well that didn’t take long. Magnolia Pictures already bought the world rights to the highly anticipated film Results, ahead of its 2015 Sundance Film Festival premiere next week. Written and directed by exciting young filmmaker Andrew Bujalski (Computer Chess, Funny Ha Ha), Results is an indie comedy set in the fitness world of Austin, TX, where a recently divorced man heads to the gym for self-improvement. At the gym, he meets a self-styled guru/owner and an irresistibly acerbic trainer and eventually forms relationships with both. The film contains plenty of star power that includes Guy Pearce, Cobie Smulders, Kevin Corrigan, Giovani Ribisi, Anthony Michael Hall, Brooklyn Decker and Constance Zimmer.

Magnolia plans to release the film theatrically in the summer of 2015.

The folks over in Park City have just unveiled their lineup for the 2015 Sundance Film Festival, which kicks off the festival season every year in January. With 118 films announced in their lineup, and even more to come over the next couple weeks, there’s a lot of digging to do. Some of the notable standouts so far include: “mumblecore” pioneer Andrew Bujalski’s (Computer Chess) new film Results (starring Guy Pearce, Cobie Smulders and Giovanni Ribisi), Patrick Brice following up this year’s Creep with The Overnight (starring Adam Scott and Jason Schwartzman), Kris Swanberg‘s new film Unexpected, and Compliance director Craig Zobel‘s Z for Zachariah, all of which will compete in the U.S. Dramatic category of the festival. The festival continues to premiere some of the hottest indie titles every year, so check out the entire list below!

The 2015 Sundance Film Festival will take place from Jan 22 – Feb 1.

2015 Sundance Film Festival Lineup

U.S. Dramatic Competition

“Advantageous” (Director: Jennifer Phang, Screenwriters: Jacqueline Kim, Jennifer Phang) — In a near-future city where soaring opulence overshadows economic hardship, Gwen and her daughter, Jules, do all they can to hold on to their joy, despite the instability surfacing in their world. Cast: Jacqueline Kim, James Urbaniak, Freya Adams, Ken Jeong, Jennifer Ehle, Samantha Kim.

“The Bronze” (Director: Bryan Buckley, Screenwriters: Melissa Rauch, Winston Rauch) — In 2004, Hope Ann Greggory became an American hero after winning the bronze medal for the women’s gymnastics team. Today, she’s still living in her small hometown, washed-up and embittered. Stuck in the past, Hope must reassess her life when a promising young gymnast threatens her local celebrity status. Cast: Melissa Rauch, Gary Cole, Thomas Middleditch, Sebastian Stan, Haley Lu Richardson, Cecily Strong. (Day One)

“The D Train” (Directors and screenwriters: Jarrad Paul, Andrew Mogel) — With his 20th reunion looming, Dan can’t shake his high-school insecurities. In a misguided mission to prove he’s changed, Dan rekindles a friendship with the popular guy from his class and is left scrambling to protect more than just his reputation when a wild night takes an unexpected turn. Cast: Jack Black, James Marsden, Kathryn Hahn, Jeffrey Tambor, Mike White, Kyle Bornheimer. 

“The Diary of a Teenage Girl” (Director and screenwriter: Marielle Heller) — Minnie Goetze is a 15-year-old aspiring comic-book artist, coming of age in the haze of the 1970s in San Francisco. Insatiably curious about the world around her, Minnie is a pretty typical teenage girl. Oh, except that she’s sleeping with her mother’s boyfriend. Cast: Bel Powley, Alexander Skarsgard, Christopher Meloni, Kristen Wiig.

“Dope” (Director and screenwriter: Rick Famuyiwa) — Malcolm is carefully surviving life in a tough neighborhood in Los Angeles while juggling college applications, academic interviews, and the SAT. A chance invitation to an underground party leads him into an adventure that could allow him to go from being a geek, to being dope, to ultimately being himself. Cast: Shameik Moore, Tony Revolori, Kiersey Clemons, Blake Anderson, Zoe Kravitz, ASAP Rocky.

“I Smile Back” (Director: Adam Salky, Screenwriters: Amy Koppelman, Paige Dylan) — All is not right in suburbia. Laney Brooks, a wife and mother on the edge, has stopped taking her meds, substituting recreational drugs and the wrong men. With the destruction of her family looming, Laney makes a last, desperate attempt at redemption. Cast: Sarah Silverman, Josh Charles, Thomas Sadoski, Mia Barron, Terry Kinney, Chris Sarandon.

“Me and Earl and the Dying Girl” (Director: Alfonso Gomez-Rejon, Screenwriter: Jesse Andrews) — Greg is coasting through senior year of high school as anonymously as possible, avoiding social interactions like the plague while secretly making spirited, bizarre films with Earl, his only friend. But both his anonymity and friendship threaten to unravel when his mother forces him to befriend a classmate with leukemia. Cast: Thomas Mann, RJ Cyler, Olivia Cooke, Nick Offerman, Connie Britton, Molly Shannon.

“The Overnight” (Director and screenwriter: Patrick Brice) — Alex, Emily, and their son, RJ, are new to Los Angeles. A chance meeting at the park introduces them to the mysterious Kurt, Charlotte and Max. A family “playdate” becomes increasingly interesting as the night goes on. Cast: Adam Scott, Taylor Schilling, Jason Schwartzman, Judith Godreche.

“People, Places, Things” (Director and screenwriter: James C. Strouse) — Will Henry is a newly single graphic novelist balancing being a parent to his young twin daughters and teaching a classroom full of college students, all the while trying to navigate the rich complexities of new love and letting go of the woman who left him. Cast: Jemaine Clement, Regina Hall, Stephanie Allynne, Jessica Williams, Gia Gadsby, Aundrea Gadsby.

“Results” (Director and screenwriter: Andrew Bujalski) — Two mismatched personal trainers’ lives are upended by the actions of a new, wealthy client. Cast: Guy Pearce, Cobie Smulders, Kevin Corrigan, Giovanni Ribisi, Anthony Michael Hall, Brooklyn Decker.

“Songs My Brothers Taught Me” (Director and screenwriter: Chloe Zhao) — This complex portrait of modern-day life on the Pine Ridge Indian Reservation explores the bond between a brother and his younger sister, who find themselves on separate paths to rediscovering the meaning of home. Cast: John Reddy, Jashaun St. John, Irene Bedard, Taysha Fuller, Travis Lone Hill, Eleonore Hendricks.

“The Stanford Prison Experiment” (Director: Kyle Patrick Alvarez, Screenwriter: Tim Talbott)— This film is based on the actual events that took place in 1971 when Stanford professor Dr. Philip Zimbardo created what became one of the most shocking and famous social experiments of all time. Cast: Billy Crudup, Ezra Miller, Michael Angarano, Tye Sheridan, Johnny Simmons, Olivia Thirlby.

“Stockholm, Pennsylvania” (Director and screenwriter: Nikole Beckwith — A young woman is returned home to her biological parents after living with her abductor for 17 years. Cast: Saoirse Ronan, Cynthia Nixon, Jason Isaacs, David Warshofsky.

“Unexpected” (Director: Kris Swanberg, Screenwriters: Kris Swanberg, Megan Mercier) — When Samantha Abbott begins her final semester teaching science at a Chicago high school, she faces some unexpected news: She’s pregnant. Soon after, Samantha learns that one of her favorite students, Jasmine, has landed in a similar situation. “Unexpected” follows the two women as they embark on an unlikely friendship. Cast: Cobie Smulders, Anders Holm, Gail Bean, Elizabeth McGovern.

“The Witch” (U.S.-Canada) (Director and screenwriter: Robert Eggers) — New England in the 1630s: William and Katherine lead a devout Christian life with five children, homesteading on the edge of an impassable wilderness. When their newborn son vanishes and crops fail, the family turns on one another. Beyond their worst fears, a supernatural evil lurks in the nearby wood. Cast: Anya Taylor Joy, Ralph Ineson, Kate Dickie, Harvey Scrimshaw, Lucas Dawson, Ellie Grainger.

“Z for Zachariah” (Director: Craig Zobel, Screenwriter: Nissar Modi) — In a post-apocalyptic world, a young woman who believes she is the last human on Earth meets a dying scientist searching for survivors. Their relationship becomes tenuous when another survivor appears. As the two men compete for the woman’s affection, their primal urges begin to reveal their true nature. Cast: Chiwetel Ejiofor, Margot Robbie, Chris Pine.

U.S. Documentary Competition

“3 1/2 Minutes” (Director: Marc Silver) — On Nov. 23, 2012, unarmed 17-year-old Jordan Russell Davis was shot at a Jacksonville gas station by Michael David Dunn. “3½ Minutes” explores the aftermath of Jordan’s tragic death, the latent and often unseen effects of racism, and the contradictions of the American criminal justice system.

“Being Evel” (Director: Daniel Junge) — An unprecedented, candid portrait of American icon Robert “Evel” Knievel and his legacy.

“Best of Enemies” (Directors: Morgan Neville, Robert Gordon) — A behind-the-scenes account of the explosive 1968 televised debates between the liberal Gore Vidal and the conservative William F. Buckley Jr., and their rancorous disagreements about politics, God, and sex.

“Call Me Lucky” (Director: Bobcat Goldthwait) — Barry Crimmins was a volatile but brilliant bar comic who became an honored peace activist and influential political satirist. Famous comedians and others build a picture of a man who underwent an incredible transformation.

“Cartel Land” (Director: Matthew Heineman) — In this classic Western set in the 21st century, vigilantes on both sides of the border fight the vicious Mexican drug cartels. With unprecedented access, this character-driven film provokes deep questions about lawlessness, the breakdown of order, and whether citizens should fight violence with violence.

“City of Gold” (Director: Laura Gabbert) — Pulitzer Prize-winning critic Jonathan Gold casts his light upon a vibrant and growing cultural movement in which he plays the dual roles of high-low priest and culinary geographer of his beloved Los Angeles.

“Finders Keepers” (Directors: Bryan Carberry, Clay Tweel) — Recovering addict and amputee John Wood finds himself in a stranger-than-fiction battle to reclaim his mummified leg from Southern entrepreneur Shannon Whisnant, who found it in a grill he bought at an auction and believes it to therefore be his rightful property.

“Hot Girls Wanted” (Directors: Jill Bauer, Ronna Gradus) — A first-ever look at the realities inside the world of the amateur porn industry and the steady stream of 18- and 19-year-old girls entering into it.

“How to Dance in Ohio” (Director: Alexandra Shiva) — In Columbus, Ohio, a group of teenagers and young adults on the autism spectrum prepare for an iconic American rite of passage — a spring formal. They spend 12 weeks practicing their social skills at a local nightclub in preparation for the dance.

“Larry Kramer in Love and Anger” (Director: Jean Carlomusto) — Author, activist, and playwright Larry Kramer is one of the most important and controversial figures in contemporary gay America, a political firebrand who gave voice to the outrage and grief that inspired gay men and lesbians to fight for their lives. At 78, this complicated man still commands our attention.

“Meru” (Directors: Jimmy Chin, E. Chai Vasarhelyi) — Three elite mountain climbers sacrifice everything but their friendship as they struggle through heartbreaking loss and nature’s harshest elements to attempt the never-before-completed Shark’s Fin on Mount Meru, the most coveted first ascent in the dangerous game of Himalayan big wall climbing.

“Racing Extinction” (Director: Louie Psihoyos) — Academy Award winner Louie Psihoyos (“The Cove”) assembles a unique team to show the world never-before-seen images that expose issues surrounding endangered species and mass extinction.

“(T)error” (Directors: Lyric R. Cabral, David Felix Sutcliffe) — The first film to document oncamera a covert counterterrorism sting as it unfolds. Through the perspective of *******, a 63-year-old Black revolutionary turned FBI informant, viewers are given an unprecedented glimpse of the government’s counterterrorism tactics, and the murky justifications behind them.

“Welcome to Leith” (Directors: Michael Beach Nichols, Christopher K. Walker) — A white supremacist attempts to take over a small town in North Dakota.

“Western” (U.S.-Mexico) (Directors: Bill Ross, Turner Ross) — For generations, all that distinguished Eagle Pass, Texas, from Piedras Negras, Mexico, was the Rio Grande. But when darkness descends upon these harmonious border towns, a cowboy and lawman face a new reality that threatens their way of life. Western portrays timeless American figures in the grip of unforgiving change.

“The Wolfpack” (Director: Crystal Moselle) — Six bright teenage brothers have spent their entire lives locked away from society in a Manhattan housing project. All they know of the outside is gleaned from the movies they watch obsessively (and recreate meticulously). Yet as adolescence looms, they dream of escape, ever more urgently, into the beckoning world.

World Cinema Dramatic Competition

“Chlorine” (Italy) (Director: Lamberto Sanfelice, Screenwriters: Lamberto Sanfelice, Elisa Amoruso) — Jenny, 17, dreams of becoming a synchronized swimmer. Family events turn her life upside down and she is forced move to a remote area to look after her ill father and younger brother. It won’t be long before Jenny starts pursuing her dreams again. Cast: Sara Serraiocco, Ivan Franek, Giorgio Colangeli, Anatol Sassi, Piera Degli Esposti, Andrea Vergoni.

“Chorus” (Canada) (Director and screenwriter: Francois Delisle) ­— A separated couple meet again after 10 years when the body of their missing son is found. Amid the guilt of losing a loved one, they hesitantly move toward affirmation of life, acceptance of death, and even the possibility of reconciliation. Cast: Sebastien Ricard, Fanny Mallette, Pierre Curzi, Genevieve Bujold.

“Glassland” (Ireland) (Director and screenwriter: Gerard Barrett) — In a desperate attempt to reunite his broken family, a young taxi driver becomes entangled in the criminal underworld. Cast: Jack Reynor, Toni Collette, Will Poulter, Michael Smiley. (International premiere)

“Homesick” (Norway) (Director: Anne Sewitsky, Screenwriters: Ragnhild Tronvoll, Anne Sewitsky) — When Charlotte, 27, meets her brother Henrik, 35, for the first time, two people who don’t know what a normal family is begin an encounter without boundaries. How does sibling love manifest itself if you have never experienced it before? Cast: Ine Marie Wilmann, Simon J. Berger, Anneke von der Lippe, Silje Storstein, Oddgeir Thune, Kari Onstad.

“Ivy” (Turkey) (Director and screenwriter: Tolga Karacelik) — Sarmasik is sailing to Egypt when the ship’s owner goes bankrupt. The crew learns there is a lien on the ship, and key crew members must stay on board. Ivy is the story of these six men trapped on the ship for days. Cast: Nadir Sarıbacak, Ozgur Emre Yıldırım, Hakan Karsak, Kadir Cermik, Osman Alkaş, Seyithan Ozdemiroglu.

“Partisan” (Australia) (Director: Ariel Kleiman, Screenwriters: Ariel Kleiman, Sarah Cyngler)— Alexander is like any other kid: playful, curious and naive. He is also a trained assassin. Raised in a hidden paradise, Alexander has grown up seeing the world filtered through his father, Gregori. As Alexander begins to think for himself, creeping fears take shape, and Gregori’s idyllic world unravels. Cast: Vincent Cassel, Jeremy Chabriel, Florence Mezzara.

“Princess” (Israel) (Director and screenwriter: Tali Shalom Ezer) — While her mother is away from home, 12-year-old Adar’s role-playing games with her stepfather move into dangerous territory. Seeking an escape, Adar finds Alan, an ethereal boy that accompanies her on a dark journey between reality and fantasy. Cast: Keren Mor, Shira Haas, Ori Pfeffer, Adar Zohar Hanetz. (International premiere)

“The Second Mother” (Brazil) (Director and screenwriter: Anna Muylaert) — Having left her daughter, Jessica, to be raised by relatives in the north of Brazil, Val works as a loving nanny in São Paulo. When Jessica arrives for a visit 13 years later, she confronts her mother’s slave-like attitude and everyone in the house is affected by her unexpected behavior. Cast: Regina Case, Michel Joelsas, Camila Mardila, Karine Teles, Lourenço Mutarelli.

“Slow West” (New Zealand) (Director: John Maclean, Screenwriters: John Maclean, Michael Lesslie) — At the end of the 19th century, 16-year-old Jay Cavendish journeys across the American frontier in search of the woman he loves. He is joined by Silas, a mysterious traveler, and hotly pursued by an outlaw along the way. Cast: Michael Fassbender, Kodi Smit-McPhee, Rory McCann, Ben Mendelsohn, Brooke Williams, Caren Pistorius.

“Strangerland” (Australia-Ireland) (Director: Kim Farrant, Screenwriters: Fiona Seres, Michael Kinirons) — When Catherine and Matthew Parker’s two teenage kids disappear into the remote Australian desert, the couple’s relationship is pushed to the brink as they confront the mystery of their children’s fate. Cast: Nicole Kidman, Joseph Fiennes, Hugo Weaving, Lisa Flanagan, Meyne Wyatt, Maddison Brown.

“The Summer of Sangaile” (Lithuania-France-Holland) (Director and screenwriter: Alante Kavaite) — Seventeen-year-old Sangaile is fascinated by stunt planes. She meets a girl her age at the summer aeronautical show, nearby her parents’ lakeside villa. Sangaile allows Auste to discover her most intimate secret and in the process finds in her teenage love, the only person that truly encourages her to fly. Cast: Julija Steponaityte, Aiste Dirziute. (Day One film)

“Umrika” (India) (Director and screenwriter: Prashant Nair) — When a young village boy discovers that his brother, long believed to be in America, has actually gone missing, he begins to invent letters on his behalf to save their mother from heartbreak, all the while searching for him. Cast: Suraj Sharma, Tony Revolori, Smita Tambe, Adil Hussain, Rajesh Tailang, Prateik Babbar.

World Cinema Documentary Competition

“The Amina Profile” (Canada) (Director: Sophie Deraspe) — During the Arab revolution, a love story between two women — a Canadian and a Syrian American — turns into an international sociopolitical thriller spotlighting media excesses and the thin line between truth and falsehood on the Internet.

“Censored Voices” (Israel-Germany) (Director: Mor Loushy) — One week after the 1967 Six-Day War, renowned author Amos Oz and editor Avraham Shapira recorded intimate conversations with soldiers returning from the battlefield. The Israeli army censored the recordings, allowing only a fragment of the conversations to be published. “Censored Voices” reveals these recordings for the first time.

“The Chinese Mayor” (China) (Director: Hao Zhou) — Mayor Geng Yanbo is determined to transform the coal-mining center of Datong, in China’s Shanxi province, into a tourism haven showcasing clean energy. In order to achieve that, however, he has to relocate 500,000 residences to make way for the restoration of the ancient city.

“Chuck Norris vs. Communism” (U.K.-Romania-Germany) (Director: Ilinca Calugareanu) — In 1980s Romania, thousands of Western films smashed through the Iron Curtain, opening a window to the free world for those who dared to look. A black-market VHS racketeer and courageous female translator brought the magic of film to the masses and sowed the seeds of a revolution.

“Dark Horse” (U.K.) (Director: Louise Osmond) — Dark Horse is the inspirational true story of a group of friends from a workingman’s club who decide to take on the elite “sport of kings” and breed themselves a racehorse.

“Dreamcatcher” (U.K.) (Director: Kim Longinotto) — “Dreamcatcher” takes us into a hidden world seen through the eyes of one of its survivors, Brenda Myers-Powell. A former teenage prostitute, Brenda defied the odds to become a powerful advocate for change in her community. With warmth and humor, Brenda gives hope to those who have none.

“How to Change the World” (U.K.-Canada) (Director: Jerry Rothwell) — In 1971, a group of friends sails into a nuclear test zone, and their protest captures the world’s imagination. Using rare, archival footage that brings their extraordinary world to life, How to Change the World is the story of the pioneers who founded Greenpeace and defined the modern green movement. (Day One film)

“Listen to Me Marlon” (U.K.) (Director and screenwriter: Stevan Riley, Co-writer: Peter Ettedgui) — With exclusive access to previously unheard audio archives, this documentary charts Marlon Brando’s exceptional career and extraordinary life away from the stage and screen, fully exploring the complexities of the man by telling the story uniquely in his own voice.

“Pervert Park” (Sweden-Denmark) (Directors: Frida Barkfors, Lasse Barkfors) — “Pervert Park” follows the everyday lives of sex offenders in a Florida trailer park as they struggle to reintegrate into society, and try to understand who they are and how to break the cycle of sex crimes being committed. (International premiere)

“The Russian Woodpecker” (U.K.) (Director: Chad Gracia) — A Ukrainian victim of the Chernobyl nuclear disaster discovers a dark secret and must decide whether to risk his life by revealing it, amid growing clouds of revolution and war.

“Sembene!” (U.S.-Senegal) (Directors: Samba Gadjigo, Jason Silverman) — In 1952, Ousmane Sembene, a Senegalese dockworker and fifth-grade dropout, began dreaming an impossible dream: to become the storyteller for a new Africa. This true story celebrates how the “father of African cinema,” against enormous odds, fought a monumental, 50-year-long battle to give Africans a voice.

“The Visit” (Denmark-Austria-Ireland-Finland-Norway) (Director: Michael Madsen) — “This film documents an event that has never taken place … ” With unprecedented access to the United Nations’ Office for Outer Space Affairs, leading space scientists and space agencies, “The Visit” explores humans’ first encounter with alien intelligent life and thereby humanity itself. “Our scenario begins with the arrival. Your arrival.”

NEXT

“Bob and the Trees” (U.S.-France) (Director: Diego Ongaro, Screenwriters: Diego Ongaro, Courtney Maum, Sasha Statman-Weil) — Bob, a 50-year-old logger in rural Massachusetts with a soft spot for golf and gangsta rap, is struggling to make ends meet in a changed economy. When his beloved cow is wounded and a job goes awry, Bob begins to heed the instincts of his ever-darkening self. Cast: Bob Tarasuk, Matt Gallagher, Polly MacIntyre, Winthrop Barrett, Nathaniel Gregory. World Premiere

“Christmas, Again” (Director and screenwriter: Charles Poekel) — A heartbroken Christmas tree salesman returns to New York, hoping to put the past year behind him. He spends the season living in a trailer and working the night shift, until a mysterious woman and some colorful customers rescue him from self-destruction. Cast: Kentucker Audley, Hannah Gross, Jason Shelton, Oona Roche. (North American premiere)

“Cronies” (Director and screenwriter: Michael Larnell) — Twenty-two-year-old Louis doesn’t know whether his childhood friendship with Jack will last beyond today. Cast: George Sample III, Zurich Buckner, Brian Kowalski.

“Entertainment” (Director: Rick Alverson, Screenwriters: Rick Alverson, Gregg Turkington, Tim Heidecker) — En route to meeting with his estranged daughter, in an attempt to revive his dwindling career, a broken, aging comedian plays a string of dead-end shows in the Mojave Desert. Cast: Gregg Turkington, John C. Reilly, Tye Sheridan, Michael Cera, Amy Seimetz, Lotte Verbeek.

“H.” (U.S.-Argentina) (Directors and screenwriters: Rania Attieh, Daniel Garcia) — Two women, each named Helen, find their lives spinning out of control after a meteor allegedly explodes over their city of Troy, New York. Cast: Robin Bartlett, Rebecca Dayan, Will Janowitz, Julian Gamble, Roger Robinson.

“James White” (Director and screenwriter: Josh Mond) — A young New Yorker struggles to take control of his reckless, self-destructive behavior in the face of momentous family challenges. Cast: Chris Abbott, Cynthia Nixon, Scott Mescudi, Makenzie Leigh, David Call.

“Nasty Baby” (Director and screenwriter: Sebastian Silva) — A gay couple try to have a baby with the help of their best friend, Polly. The trio navigates the idea of creating life while confronted by unexpected harassment from a neighborhood man called The Bishop. As their clashes grow increasingly aggressive, odds are someone is getting hurt. Cast: Sebastian Silva, Tunde Adebimpe, Kristin Wiig, Reg E. Cathey, Mark Margolis, Denis O’Hare.

“The Strongest Man” (Director and screenwriter: Kenny Riches) — An anxiety-ridden Cuban man who fancies himself the strongest man in the world attempts to recover his most prized possession, a stolen bicycle. On his quest, he finds and loses much more. Cast: Robert Lorie, Paul Chamberlain, Ashly Burch, Patrick Fugit, Lisa Banes.

“Take Me to the River” (Director and screenwriter: Matt Sobel) — A naive California teen plans to remain above the fray at his Nebraskan family reunion, but a strange encounter places him at the center of a long-buried family secret. Cast: Logan Miller, Robin Weigert, Josh Hamilton, Richard Schiff, Ursula Parker, Azura Skye.

“Tangerine” (Director: Sean Baker, Screenwriters: Sean Baker, Chris Bergoch) — A working girl tears through Tinseltown on Christmas Eve searching for the pimp who broke her heart. Cast: Kitana Kiki Rodriguez, Mya Taylor, Karren Karagulian, Mickey O’Hagan, Alla Tumanyan, James Ransone.

Mumblecore extraordinaire Andrew Bujalski’s (director of Funny Ha Ha and Beeswax) latest effort expands upon his mumblecore roots by wrapping it around a mockumentary format of storytelling that is lensed with aesthetically accurate 80’s technology. The largest achievement the film earns is due to the lo-fi visual flair, which at times feels as brilliant as it does experimental. Computer Chess is an undeniably courageous indie film that seems complacent towards pleasing a limited audience.

Set in an unmistakable time period of the 1980’s, Computer Chess follows several computer programmers as they compete with their software to try and beat an actual human chess player at an annual conference. The film purposely comes off as a low-budget documentary with peculiar editing and amateur looking footage using the same camera technologies that are authentic to the time. Each of the computer programmers in the competition fit the stereotypical image of a nerd: thick-rim glasses, light colored button-up shirt equipped with pocket protectors, more interested in computers than women, and all fascinated at which the speed of technology is progressing which will allow their programs to become even more powerful.

The first couple of days prove to be disastrous for the defending champs who cannot seem to figure out what is wrong with their software that is losing games almost immediately. But that is not the most unthinkable thing to happen at this year’s tournament. In what seems to be a first occurrence of its kind, a female competitor joins the field that is dominated by males, but is surprisingly not a major factor of the story until the end when a conversation sparks about how the future of dating will be changed by computers (essentially forecasting online dating).

Computer Chess does briefly bring up the discussion of artificial intelligence on a few occasions but only highlights its importance instead of making it a major plot point. It may have been better suited had the film been less focused on trying to work as a comedy and more towards an insightful piece on the philosophy of artificial intelligence. Similar to H.A.L. 9000 from 2001: A Space Odyssey, there are a few scenes that imply that computers are self-aware and could be watching us, but they fizzle out rather quickly.

You must be willing to embrace some of the randomness that the director throws at you throughout the film such as; a bizarre scene that is filmed in color with audio that is out of sync that eventually ends up on repeat (symbolizing an infinite-loop in the programming world) and a motel that permits cats to wander around for reasons that are not exactly apparent. Comic relief is provided by a hilarious performance by Myles Paige, who plays a cheapskate programmer that spends the entire film looking for an extra room to sleep in without paying for it. Sometimes there seems to be little method to its madness, but the film’s off-the-wall mannerisms mostly work by adding to its charm.

It does take talent to produce such an original story and concept such as the one featured in Computer Chess, regardless that all of its pieces are not completely cohesive. There are jokes that do not register and scenes that do not make sense, which adds an element of randomness that wonderfully juxtaposes the calculated game of chess and world of computer programming. Computer Chess bounces around between playful humor and thoughtful technology speculation so freely that even a modern computer program could not predict its next moves.

Computer Chess trailer:

For me personally, Andrew Bujalski’s Computer Chess was one of the most anticipated films at the Berlinale festival. What made this film so great was the tremendous callback it makes to independent film prior to the DSLR era, when not everyone had access to the “film look,” and made due with whatever they could get their hands on. In the case of Computer Chess, the decision to not go after the coveted film feel was most made likely for aesthetics, but was enjoyable none the less in this quirky comedy about computer programming in the early 80′s.

The film plays out at a small motel, which serves home to an annual tournament in which computer programmers–working at building chess programs–meet to battle their machines against one another to see who has created the best chess program. The style used to tell the story is partially mocumentary, and partially fiction feature. What is most engaging is that the director decided to film the movie on vintage Sony, black and white video cameras in an effort to truly capture the period. The medium does a tremendous job in bringing the audience into the moment. The main character is a young grad student named Peter, who is concerned that his computer is throwing the tournament. In his search to diagnose the problem, he learns that his quest to bring artificial life to a machine may, in fact, be the key to bringing real life and understanding into his own experience.

Computer Chess is full of memorable characters, most notable for me being the character of Michael Papageorge, who is unbelievably reminiscent of an early Chevy Chase in both appearance and antics. Papageorge is one of the more confident members of the tournament, but also one of the least prepared and biggest moochers–he spends much of the film looking for an extra room to stay in and eating from the ice machine.

Computer Chess feels very authentic to the time. The period fits, and the characters function wonderfully within the time. Plenty of old technology will satisfy the analog junkie in all of us, including a vast array of early model computers and the hilarious banter of early speculation as far as the roll computers will play in the lives of future generations. For me, the film held a lot of hometown, old fashion humor and chemistry that I haven’t felt in a film since Napoleon Dynamite. A lot of parallels can be drawn as to the sort of quirky humor, characters, and situations that occur in both films.

Towards the end of the film, a few issues start to arise as far as the technical execution of the presentation. A cut away scene of Papageorge suddenly changes format from the Sony video to 8mm reversal stock in which the audio sync does not match up. The scene plays out for a few minutes before falling back to the video. Other clips in the end also take on a bit more of an avant garde quality, and don’t seem to fit the smooth, quasi-documentary style of the rest of the film. Some of this might be fall on the issues of using such old equipment to make the picture, but it really does give an almost “rough cut” feel to the end of the film, which seems to break up what would have otherwise been a nearly perfect indie period comedy.

In all, I still loved Computer Chess, regardless of some of the jostles towards the end. The characters are refreshingly original and diverse, and the story is exceptionally engaging with wonderful comedic breaks and asides. The style in which it was shot was genius, and I think it can serve as an example to anyone looking to make a period piece on a small budget. By having strong characters, and engaging story, simple locations, as well as equipment you know and trust, you can really accomplish anything.

A couple of days ago, I mentioned the comments of my professor regarding his feelings on the feature of movie theaters. Today, I heard a few of his concerns confirmed by a panel of distributors. The Berlinale Talent Campus is a wonderful additive to the festival, and professionals of the industry do a spectacular job discussing the ins and outs of independent film—from conception to production to distribution. In the digital age of and the death of the DVD market, distributors of both big budget and art house films are not entirely sure where the future lies, but with more independent film makers working on a digital platform—thanks to the presence and availability of DSLR cameras—there are more than enough options to compensate the death of DVD, such as Netflix and iTunes.

A general consensus among the panel was that although the technology is moving ever further, the tactics of distribution are returning to a state not unlike that of the 1980’s. They were not able to elaborate on this idea a whole lot, and I am not very familiar with distribution of the 80’s, but what I got out of the discussion is that traditional cinema—as in going to a theater—is here to stay. What’s more, thanks to digital projection, the technologies surrounding VOD, and the ability to digitally transfer films across the world, it is likely more art and independent films will make their way to general audiences. For many of us out there—including yours truly—the loss of celluloid projection feels like a loss of aesthetic, and sometimes the imperfections of a film reel that has been played too many times and is covered in scratches is half the fun, and if I wanted a digital picture I would watch from home. This will likely be the decision we will actually make for ourselves very soon.

The fact is—as much as some of us might not like to hear it—this industry is all about money and film is expensive; so much so that it deters certain distributors from purchasing films because the possibilities of breaking even are less when the cost of distribution includes the hundreds of thousands of dollars it takes to make print reels. With digital projection, the return of investment is higher, meaning more films are purchased, and we are now able to see more movies on the big screen than ever before. International distribution means import taxes, and when a movie is contained on in a digital file that has next to no physical value—as opposed to film—the taxes are removed from the equation, meaning more foreign films will make their way to the screen. The point is, the digital age likely has more to offer the art than to detract from it; and as such, we can expect to see a rise in foreign and independent distribution around the world.

Computer Chess (Capsule review)

One of the more anticipated films of the festival–and for me, certainly one of the most–is a film by Andrew Bujalski called Computer Chess. What made this film so great was the tremendous callback it makes to independent film prior to the DSLR era, when not everyone had access to the “film look,” and made due with whatever they could get their hands on. In the case of Computer Chess, the decision to not go after the coveted film feel was most made likely for aesthetics, but was enjoyable none the less in this quirky comedy about computer programming in the early 80’s.

Full review of Computer Chess

COMING UP: Things continue to progress here in Berlin, and I find myself becoming more and more engaged, as well as inspired. I took some time between screenings to stop in at the European Film Market, and I hope to make it back for a better look tomorrow. This is such a great opportunity to learn anything and everything about the independent film industry, and because the Film Market is present, towards the end of the week there will be a few screenings of newly remastered Hollywood Classics that the distributors are hoping to have re-released. Hopefully I will find time to make it to a couple of these screenings and see some of my favorite old movies on the big screen. Until then, I will continue enjoying the regular program with a Dutch film with southern American flair called The Broken Circle Breakdown, and my first look this festival at some Queer Programming with the Panorama presentation of Concussion.