If you were anywhere near Park City, Utah, from January 21 to January 31 in 2016, you probably found yourself caught in a whirlwind of indie films, artistry, and a healthy dose of political grandstanding. The annual Sundance Film Festival reared its eclectic head once more, bringing together filmmakers and actors keen to showcase more than just their cinematic abilities. The event, founded by Robert Redford, is famously known for elevating independent films to mainstream audiences, but let's be real: it’s also a breeding ground for a liberal agenda disguised as entertainment. Can't we just enjoy some art without the sermons?
You didn’t need a clairvoyant to predict some of the most talked-about films at the festival. Top of the list was “Birth of a Nation” directed by Nate Parker. The title instantly reminds us of D.W. Griffith’s 1915 portrayal of the Ku Klux Klan as heroes, and this Parker rendition couldn’t be more different. This film, which rebirthed the slave rebellion narrative led by Nat Turner, was celebrated for its raw storytelling and historical importance. At least, that’s what the critics wanted you to believe. It won the Grand Jury Prize and the Audience Award, far be it from me to suggest that its message might have added a few biases in its favor.
While some films at Sundance focus on storytelling and genuine art, others can’t help themselves from jumping on the political train. Consider “Certain Women”, a film by Kelly Reichardt, which commendably showcased female power and complexity in three different stories. Though I'm all for complex storytelling, it’s hard not to notice how frequently these films scream about gender and social issues, instead of subtly weaving them into the narrative as part of the human experience. It’s like going to a party where everyone’s desperate to tell you how the world should work, without ever stopping to ask a question.
Lest we forget “Complete Unknown”, starring Rachel Weisz as a woman drastically altering her identity, this film raises questions about self-discovery and change. Intriguing, right? Until it veers off into yet another examination of societal norms that we'd all admittedly love to escape at times. In a normal narrative, one might view this individual journey as just that: a personal journey. But when Sundance comes to town, it’s elevated to a commentary on society, obligation, and freedom. Every piece feels like it’s crafted to stir up some social commentary.
Even documentaries couldn’t escape the penchant for pontification. How about “Weiner”, which made its debut at the festival, chronicling the downfall of disgraced politician Anthony Weiner? This juicy film had all the right elements to entertain—a scandalous politician, a sex scandal, and a public downfall. It offered more than enough drama and was received with much fanfare, proving that real-life politics is far more entertaining than fiction. Naturally, it served as a poignant reminder of the circus that media makes out of political careers.
As if that wasn't enough entertainment turning into political commentary, let's talk about “Under The Shadow”, an Iranian horror movie combining supernatural elements with political allegory. Directed by Babak Anvari, the film cleverly uses horror tactics to talk about Iran’s post-revolution paranoia, war, and oppression. This is what makes you wonder if a horror flick can’t just make you jump out of your seat anymore without leaving you to ponder world politics during the end credits. Now, that's a bigger fright than any ghost in the closet.
Sundance wouldn’t be complete without a film that outright challenges the entire family unit. See 'Christine' about journalist Christine Chubbuck, played by Rebecca Hall, which is a tale filled with pathos and commentary on media's impact on personal lives. At such festivals, filmmakers seem to magnify the darkest corners of personal and public life, often without the hope or resolution we ordinary folks look for.
Lastly, let’s not miss out on “Swiss Army Man”, the weirdest offering of them all, which provocatively melds existential questions with bathroom humor. Watching Daniel Radcliffe play a flatulent corpse was amusing in the darkest sense. Sure, it was efficient at evoking laughter, but also cleverly included a look into human loneliness and isolation. It seems odd that someone decided a farting corpse was a great medium for a philosophical trek, but that’s Sundance!
This wasn’t just artsy-fartsy fun; it was a headlong rush into cinema where entertainment meets what feels like a sermon podium. The 2016 Sundance Film Festival was an echo chamber where ironic quips and cleverly disguised commentary are ever-present. While the artistry hosted here should be celebrated, it’s hard not to bump into something more than just art at every turn. Perhaps next year, they’ll give us more creativity and a little less education.