January 30, 2021

Days two and three of the Sundance Film Festival see the TFCA members somewhat scattered. From another disappointing Ben Wheatley movie to a COVID-era film that’s the talk of the Twittersphere (despite being shot pre-COVID), the festival has no shortage of movies to provoke our members–and no will doubt provide further debate when more Torontonians see them.

Here are some TFCA member reactions to the films of Sundance days two and three.

On the heels of the acclaimed Flee, Cryptozoo reminds us that not all animated films are kids’ movies.

CRYPTOZOO: Cult artist/director Dash Shaw's adult 'toon of valiant vet (Lake Bell) saving not-so-mythical beings is like "All Creatures Great and Small" on acid. Or maybe the animated storyboards for a future blockbuster that would amuse Stan Lee's ghost. #Sundance #Sundance2021 pic.twitter.com/Y7XUgGptvY

— Peter Howell (@peterhowellfilm) January 30, 2021

CRYPTOZOO: Feels like an Adult Swim parody of the prototypical Sundance indie, and for those who consider that a feature instead of a bug, go wild. I appreciated what I can only assume was an intentional callback to Michael Cera's fate in THIS IS THE END. #Sundance2021

— Barry Hertz (@HertzBarry) January 29, 2021

On Human Factors or, let’s hear it for the pet rat!

HUMAN FACTORS: A lil bit of Haneke, a lil bit of Östlund, a lot of me not caring about anything or anyone on-screen except a pet rat named Zorro. One moment echoes, in almost too-close-to-believe coincidence, Michel Franco's loved/loathed NEW ORDER. So there's that. #Sundance2021

— Barry Hertz (@HertzBarry) January 29, 2021

HUMAN FACTORS: Trust erodes and tempers fray within affluent Euro family as a mystery home break-in gains clarity — but not necessarily meaning. Ronny Trocker's shifting POV and slippery time changes ratchet up the dread. Even the pet rat suspects. #Sundance #Sundance2021 pic.twitter.com/aLDSAdHXvD

— Peter Howell (@peterhowellfilm) January 29, 2021

The “Disturbing Sundance Films” are back!

-Festival favourite Ben Wheatley might have to surrender his “favourite” status after following Rebecca with this poorly received Park City debut, but he heralded the return of another festival staple: odd, disquieting indies.

IN THE EARTH: Ben Wheatley attempts to atone for sins of REBECCA by stitching together exquisite corpse made of KILL LIST, A FIELD IN ENGLAND, ANNIHILATION and long-lost Monty Python skit. Best viewed if high out of your mind. Or maybe that's the worst way. I dunno. #Sundance2021

— Barry Hertz (@HertzBarry) January 30, 2021

Shame that so many will have experienced this on a laptop with terrible speakers – the score and sound effects alone, along with the seizure-inducing lightshow, is best experienced on a big screen with big sound, made all the more meek with a more modest setup.

— Jason Gorber is virtually at #sundance2021 (@filmfest_ca) January 30, 2021

JOHN AND THE HOLE: "Disturbing #Sundance Film" is a genre of its own & this ranks high for "WTF?" even as fable. Teen sociopath drops mom, dad & sis into forest hole so he can live life his way. Unique vision from Pascual Sisto & "Birdman" scribe Nicolás Giacobone. #Sundance2021 pic.twitter.com/O9vjbI3RHv

— Peter Howell (@peterhowellfilm) January 30, 2021

STRAWBERRY MANSION: Guy Maddin meets Lewis Carroll in lo-fi romantic fantasy by Kentucker Audley & Albert Birney. Audley is a sadsack taxman in year 2035, auditing citizen dreams. A menagerie ensues and a woman in white beckons (Toronto's Grace Glowicki). #Sundance #Sundance2021. pic.twitter.com/IuD4J39xHB

— Peter Howell (@peterhowellfilm) January 30, 2021

On the Count of Three – The closest we get to CanCon?

There aren’t many Canadian films at this year’s festival, but Sundance wasn’t 100%  CanCon free thanks to this Ottawa-shot dramedy that featured supporting turns from Giant Tiger and a strip club outside the National Capital.

Shout out to GT Boutique and the other Ottawa locations for their supporting roles in ON THE COUNT OF THREE! Which parking lot is that?👀 #Sundance2021 pic.twitter.com/f20g04MY6N

— Pat Mullen (@cinemablogrpher) January 30, 2021

ON THE COUNT OF THREE: Justifies #Sundance buzz with bleakly original comic premise that never flags. Lifelong pals Val (Jerrod Carmichael, also directing) and Kevin (Christopher Abbott) make pact to end it all together. They've got one more day of living to do. #Sundance2021 pic.twitter.com/u6UWjbRbWz

— Peter Howell (@peterhowellfilm) January 30, 2021

One of the most hotly-buzzed films at this year’s festival is one for “these trying times.”

THE PINK CLOUD: Pink Freud. Brazilian writer/director Iuli Gerbase’s sci-fi feature debut about a toxic fog was conceived and filmed before COVID-19, but it amazingly depicts the free-floating mindscape and relentless ennui of real pandemic existence. #Sundance #Sundance2021. pic.twitter.com/dfbfMW5AAJ

— Peter Howell (@peterhowellfilm) January 30, 2021

So many documentaries!

SABAYA – Wrenching look at rescue of kidnapped Yazidi women/young girls from ISIS/Daesh sex slavery. At times hopeful, at others completely bleak, the quotidian horrors are cold/deeply unsettling. Astonishing work of journalism enters us in world masked by blackness #sundance2021 pic.twitter.com/55g6XWkK87

— Jason Gorber is virtually at #sundance2021 (@filmfest_ca) January 30, 2021

Son of Monarchs

Strawberry Mansion

It seems that Son of Monarchs and Wild Indian have potential, but don’t meet their potential.

The beautifully-shot SON OF MONARCHS finds poignant metaphor for migration stories in flight of butterflies. I'm not as enthusiastic about the "science cinema" thing as others are (maybe a more tangible hybrid approach would be better) but it tries something new 🦋 #Sundance2021

— Pat Mullen (@cinemablogrpher) January 30, 2021

WILD INDIAN – Ingredients are there for psychological thriller that mines cultural memories and the destructive behaviour of youth, wrapped in references to French New Wave ennui and film Noir, but it never quite comes together as much as one wishes it would #sundance2021 pic.twitter.com/YGh2KlH2NX

— Jason Gorber is virtually at #sundance2021 (@filmfest_ca) January 30, 2021

So many documentaries!

Fans of docs like MARIA BY CALLAS will want to check out AILEY, an archival collage fuelled by the artist's own voice, featuring some invigorating dance numbers. Feeds the hunger for the performing arts many might be feeling right now. #Sundance2021 https://t.co/VQOzijBA7S

— Pat Mullen (@cinemablogrpher) January 30, 2021

BRING YOUR OWN BRIGADE – Impressive, incendiary, even infuriating at times, this blazing look at the California fires warms when it delves into the nuance about these infernal events, yet burdened by arch narration and overblown fascination with certain participants #sundance2021 pic.twitter.com/Ouwb9rMZ65

— Jason Gorber is virtually at #sundance2021 (@filmfest_ca) January 30, 2021

Björn Andresen doc THE MOST BEAUTIFUL BOY IN THE WORLD is…fine. Viewers coming for Visconti /film on film won't get much new, but those forcing their kids to be child actors should check out as example of how unwanted fame still mucks you up 50 years later 😐 #Sundance2021

— Pat Mullen (@cinemablogrpher) January 29, 2021

Many of the clips are the expected greatest hits, but when Odetta shows up strumming for the kids it took it to a whole new level. Would watch an entire epic entirely composed on the composers/songwriters performers, as Sesame is a =definitive= touchstone forming my love of music

— Jason Gorber is virtually at #sundance2021 (@filmfest_ca) January 30, 2021

STREET GANG: HOW WE GOT TO SESAME STREET is a wonderful look back at the beloved children's show. Inevitably eclipsed by WON'T YOU BE MY NEIGHBOR? as it keeps its focus to the show itself, but worthy nod to representation/education. Where's Elmo though? #Sundance2021 pic.twitter.com/YF94nJuZpD

— Pat Mullen (@cinemablogrpher) January 30, 2021