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13 selected for Sundance Institute's Summer 08 Session of Directors and Screenwriters Labs

Posted by Eric Lavallee on May 01, 2008
Source: Sundance Institute

Submit a short film at Sundance. Get accepted. The relationship begins.

A little more than 13 directors/screenwriters will be getting a helping hand via the likes of Robert Elswit, Stephen Gaghan, Atom Egoyan and Joan Tewkesbury this summer for the Sundance Institute's annual summer labs.

Here are the following projects that will sweat it out in Utah this summer.

The projects and participants selected for the June Directors Lab from May 26-June 21 are:

BLOOD ABUNDANCE, OR THE HALF-LIFE OF ANTOINETTE/John Magary (writer/director), U.S.A.
CASA GRANDE/Fellipe Gamarano Barbosa (co-writer/director) & Karen Sztajnberg (co-writer), U.S.A./Brazil
MEADOWLANDZ/Moon Molson (writer/director), U.S.A.
PARIAH/Dee Rees (writer/director), U.S.A.
POLETOWN/Daniel Casey (writer/director), U.S.A.
RETURN/Liza Johnson (writer/director), U.S.A.
SHOCKHEADED PETER/Frank Budgen (writer/director), United Kingdom
TSHEPANG/Lara Foot Newton & Gerhard Marx (co-writers/co-directors), South Africa

These fellows will be joined at the June Screenwriters Lab from June 21-26 by the following projects and

AGUA FRIA DE MAR/Paz Fabrega (writer/director), Costa Rica
ALL FALL DOWN/Jonathan Wysocki (writer/director), U.S.A.
LOOK FOR WATER/Jennifer Phang (co-writer/director) & Dominic Mah (co-writer), U.S.A.
THE WHITE CIRCUS/Chris Lavis & Maciek Szczerbowski (co-writers and co-directors), Canada
THAT YEAR WHEN WE WERE YOUNG/Peng Tao (co-writer/director) & Zeng Wenwen (co-writer), China



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Review: The Kid With a Bike

Review: The Kid With a Bike

"Despite the one-dimensionality of its anti-patriarchal theme (appeasing the knee-jerk expectations of European film fest audiences), the Dardennes avoid cheapening the story with ideological smugness, achieving an emotional resonance without easy sentimentality."


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"Encoded in the outlandish humor that pervades the film are bits of commentary on everyday life. The most overt is Dupieux's urging to appreciate the relationships around you, which is manifested in the dog kidnapping, but also in a subplot in which a woman from the pizzeria moves between men without even realizing they have changed. Another cultural critique is found in the rainy office, an instantly recognizable visual metaphor for how dreary a 9 to 5 job can be."


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