Sundance 2017 AnnualReport

20
17
Fiscal
Year
Annual
Report
Welcome
Artists see the world—its complexities and inherent beauty—differently. Artists can reflect the most
urgent social and political issues of our time, they can provide an exhilarating escape from them, or they
can imagine a future to challenge the status quo. There’s no doubt that 2017 was a year in which the growing
tensions of division in America—and the world—affected each of us. But among the charged protests and
uncivil discourse, our artists persevered to tell vibrant, honest, unforgettable stories.
Independent voices are imperative as we look to stories to understand our world, and Sundance Institute
is committed to protecting a space for artists to create, to providing a platform for fresh perspectives and
diverse voices, and to bringing together a community to experience groundbreaking work. It remains critical
that our enduring values to sustain the work of independent artists moves forward so that we can question,
understand, and engage with the ever-changing world we find ourselves in.
As we look back on another year we are filled with admiration for the extraordinary talent of those we
support, and gratitude for the generosity of those who have supported us. In sharing with you our Sundance
Institute Annual Report we provide insight into the nature and impact of our work, and shine a light on the
standout artists and moments that made these past 12 months a reminder of our mission’s importance. And,
as we do, we look forward to a future where independent stories continue to shape a greater humanity.
ROBERT REDFORD PAT MITCHELL KERI PUTNAM

President & Founder Chair, Board of Trustees Executive Director
SUNDANCE INSTITUTE 2017 ANNUAL REPORT 4

There will always be new terrain to
explore as long as there are artists
willing to take risks, who tell their
stories without compromise. And
Sundance will be here - to provide
support and a creative community
in which a new idea or distinctive
view is championed.
ROBERT REDFORD, PRESIDENT & FOUNDER
Mission
Sundance Institute is a nonprofit organization
dedicated to the discovery and development of
independent artists and audiences.
Through its programs, the Institute seeks to

discover, support, and inspire independent film
and theatre artists from the United States and
around the world, and to introduce audiences to
their new work.
Our Work
Providing deep and
sustaining support to
independent artists
Active throughout the year and around the world, our programs in multiple
disciplines each offer a range of support for artists to create and share their stories.
FEATURE FILM GRANTS

SHORT FILM LABS
DOCUMENTARY FILM FESTIVALS
FILM MUSIC SCREENING SERIES AND TOURS
THEATRE WORKSHOPS
EPISODIC DIVERSITY AND OUTREACH
NEW MEDIA MENTORSHIP

2017 FILM MUSIC LAB
Our SUNDANCE FILM FESTIVAL
Programs
Gives independent artists one of the world’s premiere platforms to reach
a global audience.
“Artists, armed with their films, show the human sides of issues, people,
and places we don’t often see. These fearless stories, and the conversations
they spark, start at the Festival then extend well beyond the mountain
into the year ahead.” —John Cooper, Festival Director
Sundance Institute believes that bold, original stories can connect audiences with
a deeper, common humanity. Through year-round support, diverse artists across
multiple disciplines are encouraged to experiment, take risks, and realize their
unique visions.
THEATRE PROGRAM
FEATURE FILM PROGRAM Champions theatre-makers from the U.S. to the Middle East and North Africa as
they develop transformative, new storytelling for the stage.
Enhances the full creative process of narrative storytellers—from the early stages
of development all the way through to post-production, editing, and distribution.
“Internationalism is woven into everything we do—from the artists we
support to the actors and advisors who take part in our Labs—we are
“As we support artists at an early stage in their careers, we foster a
committed to storytelling without borders.” —Philip Himberg, Artistic Director
family of storytellers who are working to exchange ideas, share unique
worldviews, and create impactful films that profoundly resonate in
today’s world.” —Michelle Satter, Founding Program Director
FILM MUSIC PROGRAM

Advances the important role of music in film by connecting composers and
DOCUMENTARY FILM PROGRAM directors and providing them with rare opportunities to collaborate on projects
in production.
Elevates the art and craft of nonfiction storytellers by supporting the development “Music will always play a big role in how a film touches the audience.
of urgent stories with the potential for social and creative impact.
When directors involve composers in the creative process to transform
their story a kind of alchemy takes place.” —Peter Golub, Artistic Director
“Our commitment to sustaining the work of documentary filmmakers is
unwavering—the importance of using art to communicate truth in our
world has an immense critical value.” —Tabitha Jackson, Program Director

NATIVE AMERICAN EPISODIC PROGRAM
INDIGENOUS PROGRAM One of the few training grounds for independent voices to develop an original
series and pilot script.
Deeply committed to Native American and Indigenous voices, and the growth
of the broader Native American media field. “With the recent and ongoing growth of the episodic format, we
identify new and diverse voices, and offer these truly original creators
“Cultural authenticity is an essential part of diverse storytelling and we unparalleled and sustained access to creative and industry support.”
work to ensure that the unique voices of Native American and Indigenous —Jennifer Goyne Blake, Program Senior Manager
artists are represented on the screen.” —Bird Runningwater, Program Director
Other programs of the Institute include those which

foster women filmmakers, creative producers and the
ever-inspiring next generation of artists: Women at Sundance,
Creative Producing Program and Sundance Ignite.
NEW FRONTIER
Challenges the status quo of traditional storytelling as it nurtures work that
navigates the future of narrative worlds through cutting-edge technology
and experiential art.
“New Frontier artists have pushed the power of storytelling to intersect

across mediums—including an emphasis on theatre, drama, and the
body—as immersive technology shapes our world.”
—Shari Frilot, Chief Curator New Frontier
“Our New Frontier Story Lab is designed to support storytellers

who are innovating the art and form of story through resonant
projects that leverage the new capabilities of emerging media to
make meaning.” —Kamal Sinclair, Director New Frontier Labs

2017 THEATRE LAB
$3.026 MILLION
DIRECT GRANTS TO ARTISTS
17,315
OTHER FESTIVAL AUDIENCES REACHED THROUGHOUT THE YEAR
Sundance Institute provides a wide range of strategic financial support to A lineup of films and conversations takes a slice of the Sundance Film Festival to
storytellers creating independent work across film, theatre and new media. Los Angeles and to international markets, London and Hong Kong.
25 234 88
SHORTS TOUR CITIES VISITED
LABS DAYS OF RESIDENCY
Taking to the road, the Shorts Tour introduces new audiences to the best in
independent short films with a 95-minute theatrical program of seven short films
Highly selective Labs focused on the art and craft of storytelling provide a safe home
selected from this year’s Festival, offering laugh-out-loud comedy to contemplative
for artists to create independent work with mentorship from leaders in the field.
reflections of the world we live in.
71,600
AUDIENCES EXPERIENCING GROUNDBREAKING STORIES
AT THE SUNDANCE FILM FESTIVAL
The Sundance Film Festival kicks off a year of the best new independent film in
January, bringing $151.5 million in Economic Impact to its home state of Utah.

Global
Community
LONDON
PARK CITY
L.A.
HONG KONG
PROGRAM COUNTRIES VISITED

Africa France Qatar
Canada Germany South Africa
Chile Greece Thailand
China Italy UAE
Cuba Kenya UK
Denmark Lebanon United States
Egypt Mexico
England Netherlands
ARTIST COUNTRIES REPRESENTED

SUNDANCE FESTIVALS
Australia Egypt Italy New Zealand Switzerland
Belgium France Jamaica Norway Syria
Brazil Georgia Japan Philippines Uganda
Bulgaria Germany Jordan Poland United Arab
Canada Greece Kenya Portugal Emirates
Chile Hungary Lebanon Romania United Kingdom
China India Liberia Singapore United States
Cuba Iran Libya Spain Uruguay
Cyprus Ireland Mexico Swaziland Zimbabwe
Denmark Israel Nepal Sweden

Defining the cultural landscape of 2017,
Sundance Institute continued to advance
the impact of independent storytelling
throughout the world with its support
of original projects – through Labs,
fellowships and grants, or the platform of
the Sundance Film Festival—that were
released to audiences this year.
In the past year,

Sundance-supported
films and theatre
productions reached
millions around
the world.
SUNDANCE INSTITUTE
Artist
Stories
From film, theatre, and film music
to new media and episodic content,
Sundance Institute champions a diverse
range of independent artists across
fields, across platforms, across the U.S.
and the world. The dynamic, global
community of artists we supported
in 2017 has challenged, inspired, and
changed us with their stories—here we
shine a light on a few of these artists,
their work, and their Sundance stories.

Sundance Institute provides and preserves
the space for independent artists to create
and present original, authentic new work.
With its Festival, Labs, grants, fellowships
and year-round mentorship, the Institute is
an internationally recognized resource for
thousands of artists.
Over
900
artists supported
in 2017
Tayarisha Poe
FEATURE FILM PROGRAM
Last January, Tayarisha Poe, a filmmaker and that on the train ride home from my first job after
photographer from West Philadelphia, arrived at college—which was at my college, Swarthmore—
the Screenwriters Lab at a creative crossroads—her when working there right after I graduated felt
script wasn’t working and she didn’t know why. This so stagnant.
debilitating uncertainty was antithetical to the very
impervious, confident nature of the main character I felt this urge to realize a character who did Institute Support
that Poe was developing—a young girl who knows exactly what they wanted, all the time, no matter
• 2017 CATALYST FORUM
what she wants and goes after it. Poe’s Lab project, whatever the consequences might be because the
Selah and the Spades, is based on a multi-media consequences wouldn’t touch her. It really was born • 2017 CREATIVE PRODUCING FEATURE FILM LAB
exploration that she first created in 2014. The story out of a frustration with working under fluorescent • 2017 CREATIVE PRODUCING SUMMIT
follows a charismatic African American teenager in a light. From there, I wrote a short story every day for • 2017 DIRECTORS LAB
fictional Pennsylvania town who unabashedly dives a month that November, and I didn’t know exactly • 2017 JANUARY SCREENWRITERS LAB
into morally questionable territory. what I was going to do with them. I remember so • 2017 TIME WARNER FOUNDATION FELLOWSHIP | FFP
clearly that Beyoncé had released this self-titled
• 2016 KNIGHT FELLOWS AT SUNDANCE FILM FESTIVAL
The sublimely original online “overture” as Poe called album, and it had these music videos for every single
• 2016 WOMEN’S FINANCING INTENSIVE
it—a hybrid of prose, short films, music, photographs, song and it was released in the middle of the night
and web design—illuminated her artistic range and like it was no big deal. I basically told myself, ‘If • 2013 SCREENWRITERS INTENSIVE: PHILADELPHIA
garnered the attention of the film community— Beyoncé can do this, then I can do whatever I want.’
Poe was chosen as one of the “25 New Faces” by So I chose my favorite stories, and I started turning
Filmmaker Magazine in 2015, and in 2016 she received them into scripts.
a Sundance Institute Knight Foundation Fellowship, and wanted to see more of my voice like that in the
grants from the Cinereach Foundation, Leeway Satter: How would you describe your vision and future. That was such a wild moment because he was
Foundation, and others. As Sundance continues to
support her through the arduous
cinematic approach to Selah? right, and I didn’t even realize it until someone had sat
me down and said that. That was huge for me—just [While at the Lab, Creative Advisor
process of bringing a debut feature to life, Poe spoke Poe: I think that this story can look and feel unlike trusting my voice.
to Michelle Satter about how she channeled her inner-
Beyoncé to turn a traditional teenage story
any story about teenagers that we’ve seen so far. This
story is so unlike a lot of what we grew up watching, Another big takeaway was this mantra of ‘everything Keith Gordon] was telling me
on its head. so we know that it has to look and feel different from is in service of the story.’ Everything that you do, from
Satter: What’s the genesis of your script Selah

what we grew up watching. How can we portray
moments that are well lit, with beautiful kids on a
the script to on camera to costume to design, every
decision that is made is for the story. Even getting how he’d seen the overture that I
and the Spades, and where does your personal beautiful campus in beautiful pastel dresses, and notes. I think back to notes and reading through
connection to the script live? then essentially make it look terrifying? We talk about
what it looks like to be a popular teenage girl in high
them—it’s never really about what I do and what I
don’t want to do. It’s really just me asking myself, ‘Is made and he loved it so much and
this better for the story?’ If it’s not, I toss it.
wanted to see more of my voice

Poe: The very first thing I wrote about Selah was a school, and how we can turn that on its head.
short story about a teenage girl who is standing on
the top of a hill and she has these binoculars and you Satter: What are some takeaways from your
… That was huge for me—just

don’t know what she’s waiting for and you don’t what time at the Directors and Screenwriters Labs?
she’s watching, and then she gets a phone call from
somebody named Maxxie and she asks him, ‘Have Poe: I remember sitting down for lunch with [Creative
trusting my voice.
you done it yet?’ and he says, ‘I’m almost there.’ Then Advisor] Keith Gordon—he’s somebody whose work
through the binoculars, Selah watches as Maxxie I’ve loved for a while—and he was telling me how he’d
beats up this kid. That was the whole story. I wrote seen the overture that I made and he loved it so much TAYARISHA POE

Yance Ford
Institute Support
• 2017 SUNDANCE FILM FESTIVAL
• 2015 CATALYST FORUM
• 2014 SUNDANCE DOCUMENTARY FILM GRANT
• 2013 DOCUMENTARY EDIT AND STORY LAB
DOCUMENTARY FILM PROGRAM • 2011 SUNDANCE DOCUMENTARY FILM GRANT

• 2009 SUNDANCE DOCUMENTARY FILM GRANT
• 2009 CREATIVE PRODUCING SUMMIT
For over a decade filmmaker Yance Ford investigated Jackson: It is a challenge to both find your own Jackson: Can you talk about your time at the
the unresolved murder of his brother William—a voice and then also find the voice of the piece. 2013 Documentary Edit and Story Lab and how
black man who was killed in 1992 in their suburban How did you approach that? it may have informed your process or your feel-
hometown of Central Islip, Long Island by a white ings about yourself as a filmmaker?
man who never faced charges. Strong Island is Ford’s Ford: The cinematic language of the piece—in
attempt to make sense of this injustice—weaving other words, how it was going to look—was the Ford: In 2013, I came to the mountain at a really
together one family’s tragic story with a larger history first and perhaps easiest thing that I found. I’m difficult time. My mother had died in November 2012.
of racial segregation in America. A meditation on love heavily influenced by my own photography and the When I got to the mountain the thing I knew I wanted
and loss, the film also offers a poignant reflection of photography of others, [including] William Eggleston, to do was to cut the scene of her dying. If I had done
the filmmaker himself—Ford is transgender, but had Carrie Mae Weems, and by the filmmaking of Marlon this in New York, I wouldn’t have had any place to go
not yet come out to his family at the time of the crime. Riggs and Isaac Julien. where I hadn’t seen her death as a ‘scene.’ I was able
to do that work on the mountain because I could leave
Strong Island premiered at the 2017 Sundance Film What was difficult in terms of finding [the vision] for the emotional devastation. It helped me see that I
Festival, where it was awarded a Special Jury Prize. Strong Island was moving from one that was driven had left other characters out of the film in ways that
Netflix acquired the worldwide rights and the film exclusively by my mother’s voice, and partly my own. started to keep me awake at night. This entire film
launched globally on Netflix and in limited theatrical It was opening up Strong Island to a multiplicity of kept me awake at night for 10 years. But achieving
release this fall. Looking back on his grief-filled voices because I had a fixed idea of how the story that scene in 2013 was the beginning of my realization
filmmaking journey, Ford spoke to Tabitha Jackson could best be told. I had a strong list of rules: I didn’t that there were many more scenes that I needed to
about learning how to master the art of letting go. have my sister in the film; I was very protective of her. include in the movie.
I thought Strong Island could be a film told without
Jackson: This is your first film and it’s a searing white characters because so often white characters I don’t think this is unrelated: [The Lab] happened
example of an artist trying to find a way to are used to authenticate the experiences of black to be the first time that someone else who did not
express the inexpressible. What was the hardest characters. When I let go of those things—because already know referred to me with my proper gender
thing about making Strong Island? the characters themselves are so strong and bring so pronoun. It was in the closing circle—the blessing
much to the story—that was the difficult part. before we left the mountain. The group leader, Larry
Ford: There were so many hardest things about [Cesspooch, a spiritual healer from the Ute tribe],
Strong Island. I actually think that was the hardest asked the great spirit and the creator to bless him as
thing: the multiplicity of challenges. Not all of them he continues his journey, and it was as if the world
exclusively personal, but all of them in some way
related to how to best explore this very interior world
of the characters in the film as impacted by William’s
It would be cowardly receded. It was like hearing my name for the first time.
My sense of who I was completely shifted. Because
who I was—in my interior world, in my private
murder. I think ultimately the most difficult part was
the examination of my own interior world and the
process of being both author and partly subject of
of the viewer to look life, in the sanctity of my relationships outside the
documentary community—had been affirmed by
this man who had no idea what he had done for me
the inquiry that drives Strong Island and being able
to move in and out of the position of inquisitor and away. The film is a in that moment.
form of justice.
subject of the inquisition.
DARRYL PINCKNEY, THE NEW YORKER
SUNDANCE INSTITUTE
Raeda Taha
THEATRE PROGRAM
I felt understood by
Playwright and actor Raeda Taha does not shy
away from complicated stories shaped by the Israeli-
ground—I’m a very stubborn person with my ideas,
but this experience made me more lenient in trying to the group and I felt
Palestinian conflict. For Taha, confronting modern let others understand me. Artistically, it made me look
geopolitics is deeply personal—she is the daughter
of Ali Taha, a militant killed by Israeli commandos
forward to writing other things and presenting myself
as a Palestinian with a different perspective. free—the freedom
after hijacking an airplane in 1972, and she also served
as the Press Secretary of Chairman Yasser Arafat
from 1987 to 1994. Taha’s new play, 36 Abbas Street,
Himberg: This Lab in Morocco is where you first
met the director Junaid Sarrideen from Beirut. of speech and the
Haifa, considers how a single address can house two How have collaborations with the Sundance
Palestinian families with radically different fates—as
one family stays in Palestine and becomes citizens of
community impacted your work?
freedom of making
the Jewish state of Israel, and the other family is forced Taha: Yes, this experience led me to meet with a
to leave and wander the world in search of a country
they can call their own.
great director, which we continued to work together
under the umbrella of Sundance at Mass MoCA— my dreams come
which is where we developed 36 Abbas. While I was
Since first seeing Taha’s powerful autobiographical
one-woman show, Where Can I Find Someone Like
at Sundance I was able to talk about more significant
stories. I felt understood by the group and I felt free— true—to share
You, Ali? in Cairo in 2015, the Theatre Program has the freedom of speech and the freedom of making
been championing her fearless voice. Taha was invited
to the Theatre Lab in Morocco as an actor in a Syrian
my dreams come true—to share a very specific
Palestinian issue. a very specific
play, and then in 2016 she developed 36 Abbas at
the Theatre Lab at MASS MoCA. This February, the
Theatre Program presented the U.S. premiere of Ali at
Himberg: Why did you want to tell the story of
36 Abbas and what has it been like to debut this
Palestinian issue.
the Kennedy Center in Washington, and this fall work on the stage? RAEDA TAHA
36 Abbas made its world debut in Beirut. Taha spoke
to Philip Himberg about the importance of making Taha: It is a story about two Palestinian families—a
international allies to tell revolutionary stories. story I have witnessed. It’s a symbolic idea that there
Institute Support
is hope for those who were expelled from Palestine
Himberg: You first saw how play development at in 1948 to be able to come back one day. Sundance
Sundance worked at our Lab in Morocco— invited me to a residency at Mass MoCA and we
what did you learn from the experience? managed to develop the first and most important • 2016 THEATRE LAB AT MASS MOCA
chapter of this play. Then I kept working with Junaid • 2016 THEATRE LAB AT MOROCCO (ACTOR)
Taha: I was amazed by the way Sundance handled— and I just finished 12 shows in Beirut—it was like an
not the groups, not the plays, not the projects—but epic bump in the city. Great writers talked about it,
how they handled each person. They gave us time to the press wrote about it, and the T.V. talked about it.
think, to produce, to talk, and to meet each other and It was a breakthrough because I started the play with
remove any barriers. It’s so important on this personal the Israeli national anthem and I ended it with the
level for people of different nationalities to get to know Palestinian national anthem. Israel is not a phantom
each other on a human level, on the artistic level, on and I wanted to know my enemy and know what they
the political level, on the social level. Coming from sing about and what they think—it was a big risk.
a Palestinian background—a revolutionary back-

Being back in an
Jackson
environment that was safe
in terms of exploration
Greenberg
and risk-taking…I was
able to just sit back and
enjoy how nice it felt to
FILM MUSIC PROGRAM be focused entirely on
making music for film.
JACKSON GREENBERG
City of Ghosts, which follows a brave group of citizen journalists who are risking me playing a bunch of different weird electronic instruments and making weird
their lives to stand up against ISIS, won the Candescent Award for social impact ambient pieces and him shaping it into a film score—just watching him and that
documentary at the 2017 Sundance Film Festival. The powerful film, directed by whole process I learned more than at any other point. Then on the newest one, it
Academy Award-nominated and Emmy-winning filmmaker Matthew Heineman, was kind of the opposite, where I was the one driving and Scott learned to play the
is fueled by a hauntingly intimate score marked by the subtle chords of Syrian oud for this Syrian project, and he was doing a lot of live performance that I was
string instruments to raise the high-stakes of this real-life international thriller. shaping.
Composer, singer, songwriter, multi-instrumentalist, and producer Jackson Golub: What about the creative process working with the director?
Greenberg teamed up with H. Scott Salinas to score this project, the same
musical team behind Heineman’s award-winning 2015 Sundance Film Festival Greenberg: On the last film, Matt Heineman had a pretty specific vision of what
documentary Cartel Land. Jackson has worked on a variety of projects for film he wanted the score to be conceptually—he wanted Syrian instruments to be
and television including many collaborations with his friend and mentor Salinas. filtered through some sort of distortion where you couldn’t really tell what they
Moving away from this more recent work in documentary, Jackson found a new were—and he wanted the characters in the film to really like the score and for it
rhythm experimenting with feature film as a Fellow at this summer’s Music and to feel young and modern. It was interesting to have someone who knew what
Sound Design Lab at Skywalker Sound. Greenberg spoke to Peter Golub about they wanted from a high-level conceptual perspective, but wasn’t tied to how it
shedding industry pressures, wearing different musical hats, and distorting sound sounded musically.
to make stories resonant.
Golub: In terms of the Lab, now that you’ve had a little time away from
Golub: You’ve now done two projects with director Matt Heineman—you it, what would you say would be the most impactful takeaway from your
and composer H. Scott Salinas have worked on Cartel Land and City of experience there this past summer?
Institute Support
Ghosts. How have these relationships evolved and what have you learned
from these collaborations? Greenberg: The biggest impact that I would say is that it reminded me of why I
wanted to do this job in the first place. When you finish school and you’re getting
• 2017 MUSIC AND SOUND DESIGN LAB AT SKYWALKER SOUND | Greenberg: When I was a freshman at Princeton, I was trying to figure out what I started in L.A. and you’re having to scrap together projects and figure out how to
FEATURE FILM COMPOSER FELLOW wanted to do for the summer, and I was Googling ‘Princeton film composers,’ and do it, it’s easy to lose sight of the big picture and the magic of just putting music to
• 2017 SUNDANCE FILM FESTIVAL, COMPOSER FOR CITY OF GHOSTS AND Scott was one of the only people from the music department that had made it out film. So being back in an environment that was safe in terms of exploration and
to L.A. and wasn’t doing some crazy academic music path. So I just cold-called risk-taking and then also being exposed to high-level work in the presentations of
COMPOSER FOR HOT GIRLS WANTED: TURNED ON
him and asked for an internship. I ended up working for him for two summers. the visiting composers and also the work of the peers—I was able to just sit back
• 2015 SUNDANCE FILM FESTIVAL AND SUNDANCE FILM FESTIVAL: and enjoy how nice it felt to be focused entirely on making music for film.
HONG KONG, COMPOSER FOR CARTEL LAND After I moved out here [to L.A.] we ended up being able to collaborate on those two
films. On the first one, he was the one that was definitely driving and leading the
way and it was a big learning experience for me. Our collaboration was more like

Lyle
Through the Native Program I became
encouraged that telling a story about being
Native was an important thing to do—or even
Corbine, Jr.
the right thing to do, for me. The Program drove
me to think of myself as a storyteller much more
than a filmmaking technician. LYLE CORBINE, JR.
NATIVE AMERICAN & INDIGENOUS PROGRAM
Lyle Mitchell Corbine, Jr. is a prolific writer, director, Runningwater: What’s your first memory of
and producer who has 15 short films to his credit, but wanting to be a storyteller, and how did you
it’s his Sundance-supported short Shinaab that has arrive at cinema as the vehicle for your stories?
catapulted his filmmaking career. Shinaab follows
the story of an Anishinaabe man who grows restless Corbine: I was really into movies ever since I was a
and isolated in the inner-city of Minneapolis and is little kid. I started watching more offbeat stuff after I
haunted by an ominous sense that he doesn’t belong. watched Lost In Translation, and I realized there was
This moving portrait of an Indigenous character’s something deeper in movies. I was probably 12 or 13.
dislocation and alienation on their own land I became infatuated with movies; I’d watch two or
premiered at the 2017 Sundance Film Festival three a night, all through high school. At some point,
and then went on to see a successful run at other I wanted to try it myself. I was really just messing
festivals this year, including Toronto, AFI, and the around with the form of filmmaking—I wasn’t telling
Los Angeles Film Festival. specific stories. Through the Native Program I became had happened on my reservation in the 1980s. It was Runningwater: Why is it important that Native
encouraged that telling a story about being Native interesting, because I had never flown through a story voices are championed within the film industry?
Corbine, who is an enrolled citizen of the Bad River was an important thing to do—or even the right so quickly—I didn’t realize I had all these pent up
Band of Lake Superior Chippewa Tribe in Wisconsin thing to do, for me. The Program drove me to think feelings about it. I wrote it, and I sent it into the Native Corbine: It’s important to lift up those voices because
and has lived in many towns and reservations of myself as a storyteller much more than a Program, not really thinking anything was gonna’ the Native perspective—like I said earlier—tends to be
throughout Minnesota and Wisconsin, brings a filmmaking technician. happen. But I think you guys saw something in me. overlooked or forgotten. Sometimes people even forget
heightened familiarity to his storytelling as he Up until I got recognition from the Native Program, that we’re still around or that we’re real. I think to get
examines the modern Native American relationship very few people listened to me. I had to get over the a modern take, or even a historical take, from people
to its ancestry and history. The recipient of several Runningwater: Our relationship with you goes hump. Now people look at my work and say, ‘What who live today with the feelings of transgenerational
grants from Sundance Institute, Corbine was a back to the 2016 Time Warner Native Fellow- is he trying to do?’ as opposed to ‘What is this doing trauma, or who are a part of a society that is living on
Time Warner Story Fellow as well as a Native and ship. What was the impact that first fellowship for me?’ It’s been nice to be able to walk into a room their land but has been overlooked—those stories are a
Indigenous Program Feature Film Fellow. This past and the Native Program have had on your work and have this support behind me and to be taken serious thing to promote and lift up.
summer he attended the June Screenwriters Lab to and your collective vision as a filmmaker? seriously. That’s important for everybody in this trade,
develop his first feature film Wild Indian, which also but it’s important for Native filmmakers, too, because
centers around Anishinaabe characters confronting
their past. Corbine spoke to Bird Runningwater about
Corbine: I had been making two or three films
every year. I was about 21 when I started writing
we’re often forgotten. We’re not often at the forefront.
Institute Support
the epiphany of realizing he could draw from his own features, but I wasn’t really getting anywhere. They
• 2017 JUNE SCREENWRITERS LAB, WILD INDIAN
life for inspiration, and how once he tapped into this were acultural—it wasn’t about my feelings on my
personal well a new surge of filmmaking followed. culture. So I decided to write about something that • 2017 SUNDANCE FILM FESTIVAL, SHINAAB
was really emotional to me, which was this thing that • 2017 TIME WARNER FOUNDATION NATIVE
PRODUCING FELLOWSHIP
• 2017 TIME WARNER FOUNDATION NATIVE
STORY FELLOWSHIP
SUNDANCE INSTITUTE
• 2016 TIME WARNER FOUNDATION FELLOWSHIP | NATIVE
Dandypunk
NEW FRONTIER PROGRAM
A breathtaking combination of
art, play, and technical wizardry.
BRYAN BISHOP, THE VERGE
At the 2017 Sundance Film Festival, the New Frontier Frilot: You have an extremely eclectic artistic Frilot: What thoughts or experiences typically Frilot: What were some takeaways from your
exhibition Heartcorps: Riders of the Storyboard background. How did you develop your unique precipitate the creation of a new project? Was time at the New Frontier Story Lab and how
transported audiences from the streets of Park practice that fuses dance, projection mapping, there something in your story creation process did that experience inform your approach to
City into the swirling pages of a giant immersive and immersive theater? that necessitated the hybridization of forms your work?
comic book. With a two-dimensional light being that your artistic practice embodies?
named Particle acting as a personal guide, audiences Dandypunk: Honestly, it developed from being a Dandypunk: The mentors prompted us to delve
entered an interactive theatre of paper, illustration, “Jack of all trades, master of none.” Without excelling Dandypunk: The primary inspiration for all our deeper into our story structure and characters and
and high-level Cirque du Soleil performers. Lead in any specific artistic field, I decided that presenting work so far has been to try and evoke the child-like provided invaluable tools for both constructing
artist Dandypunk, who is part of “The Light Poets” everything I knew a little about simultaneously, might sense of wonder we all used to have, but have perhaps narratives and using technology in some innovative
collective also comprised of Darin Basile and Jo make up for the lack of technical skill or mastery. since lost. The key word is always “magical”—a ways that we might never have thought of. This also
Cattell, imagined Heartcorps: Riders of the Storyboard feeling that the dark, mystical fantasy films of the led to the realization that we needed a professional
as a “digital light poem.” Although cutting-edge Our work is the happy product of embracing creative 1980’s evoked beautifully. We love the practical effects writer and we invited one aboard soon after! Perhaps
projection-mapping technology is used to transform limitations. Our messy, unfinished, hand-drawn and puppeteering from that era and hope to harness a most importantly, it connected us to (and in certain
the illustrations off the page and into life around aesthetic was born partly from low budgets, a small similar essence with our projected characters—”light cases created friendships with) some of the most
the user, Dandypunk insists that technology is team, and the need to work quickly, but also from puppets” if you will. creative, successful, and thoughtful professionals
not the focus of this collaborative work. He’s most a desire to “hide” the technology. We didn’t want in the field. Conversations with these mentors and
interested in the physical world of storytelling—the the tech to be that noticeable, so the animation and Our story is based around the concept of alumni have continued long after the Lab and have
live performers and the hand-drawn analog style of design had to feel as analog and “handmade” as dimensions—we humans live in the 3D-world and provided great advice whenever requested.
the illustrations that capture a feeling of magic and possible, giving focus to emotion and storytelling. have length, width, and height, while the flat world
wonder. Blending art, movement, and technology to of paper and ink on the walls is two-dimensional Watching the mentors and other Fellows present their
create an otherworldly experience, Dandypunk spoke We wanted the audience and performers to be able and is home to the Lumins (projected light beings). projects or dissect previous works was both humbling
to Shari Frilot about blurring the boundaries between to step inside our world and interact with characters Watching creatures from different dimensions interact and inspirational. After getting over the initial
fantasy and reality. that previously only existed as sketches on paper. has always been at the heart of our work and is really “imposter syndrome,” we came away thoroughly
The “magic lantern” that is the video projector was what this hybridization is about. inspired and eager to add more empathic and
the perfect bridge between the worlds of illustration humanitarian aspects to our work.
and live performance, allowing multiple audience
members to have an “augmented” immersive
experience together without the need for headsets.
Institute Support
• 2017 SUNDANCE FILM FESTIVAL, HEARTCORPS: RIDERS OF
THE STORYBOARD
• 2014 NEW FRONTIER STORY LAB
SUNDANCE INSTITUTE
Tarik Saleh
SUNDANCE FILM FESTIVAL
Set on the eve of Egypt’s 2011 uprising, Egyptian/ Cooper: The Nile Hilton Incident possesses a Cooper: The film has screened across the
Swedish director Tarik Saleh’s third feature, The Nile significance and relevance that isn’t always world, however, it hasn’t been allowed to play
Hilton Incident, follows the corrupt Cairo police detec- found among noir thrillers. Why was it in Egypt. What are your thoughts on the film’s
tive Noredin Mustafa as he defies orders from the top important that you set this film on the international success, and how disappointing is
and investigates a murder cover-up. A riveting noir fringes of the 2011 Egyptian uprising? it that Egyptian audiences have not been able to
that shrewdly twists the genre to examine political see the film?
power, decadence, and life on the margins, The Nile Saleh: It wasn’t important because I wrote the film
Hilton Incident reckons with struggles of morality before the revolution in 2010. For me, the most Saleh: I decided very early on not to push for a release
overtaken by history. Selah actually finished writing important thing was that Noredin in the end was in Egypt—I wanted the film to be treated like any
the script in 2010 before the revolution took place— going to lose against the street. In the beginning of film. When the first festival tried to screen the film
but even then the story was packed-full of prescient the film he is the crown prince, but any one man in Egypt, they all of a sudden released a statement
details of a country in chaos. When Selah was set to who thinks he alone can change Cairo will lose to that ‘circumstances beyond their control’ forced them
begin shooting the film in 2015 in Cairo, his politically the street—it doesn’t matter if you are Ikhnaton, to cancel the screening. The second time, a group of
charged drama triggered the local censorship board, Mubarak, or Noredin. youngsters announced a screening and police closed
and state security forces pushed Saleh to move his it down and took IDs on everyone who tried to attend.
production from Egypt to Morocco. Cooper: As both a writer and director, is there a I admire these youngsters for being so brave to try
seminal moment in your creative process that to screen the film even if it’s clearly banned. But you
Ultimately, the film was completed and had its world drives you to pursue one project over another, or also have to ask: what is it that makes the police try
premiere at the 2017 Sundance Film Festival, where is the entire filmmaking journey a process to stop Egyptians from seeing a film that takes place
it was awarded the World Cinema Grand Jury Prize of discovery? before the revolution and doesn’t comment on today’s
for Dramatic. Since then, audiences around the Egypt? It only makes one wonder if anything really
world have flocked to experience this cynical look at Saleh: Yes, there is a point of no return with any changed within the police.
Egyptian police corruption—The Nile Hilton Incident project—I always dread that moment because from
has become one of the biggest art-house hits in 2017, that moment on I will sacrifice anything for the film.
including the largest ever independent film opening I just know at a certain moment: I will make this film
in France. It recently premiered in several Middle by any means necessary.
Cigarettes are smoked by

Eastern countries—except it hasn’t been allowed
to screen in Egypt. John Cooper asked Saleh about Cooper: You’ve explored many artistic forms
the carton, exhaust chokes

the film’s too-close-to-home politics and the craft of throughout your career—graffiti, documentary,
making controversy. narrative film, and you even just finished shoot-
ing for the upcoming season of the television
the air and everything is series Westworld. Do you have an idea of what
might be next?
Institute Support
falling apart. It’s horribly Saleh: I would love to write books. But my friends • 2017 SUNDANCE FILM FESTIVAL, WINNER OF WORLD CINEMA
fascinating to watch.
KEN JAWOROWSKI, THE NEW YORK TIMES
who are writers tell me: ‘Tarik, you can do that when
you’re old.’ I don’t know if it’s their nice way of saying
stick to what you know.
GRAND JURY PRIZE FOR DRAMATIC
SUNDANCE INSTITUTE
The
Vanguards
The 2017 Sundance Institute Vanguard Awards presented by Acura honored two
very distinctive artists whose unique cinematic visions have exposed audiences to
rarely glimpsed, always poignant, mind-bending, and earth-shattering stories.
DEE REES
QUENTIN TARANTINO
QUENTIN TARANTINO DEE REES

Honoring the game-changing director who has Dee Rees, whose epic new film Mudbound set in the post-WWII South received great acclaim when it premiered
enlightened audiences with a brash body of work at this year’s Sundance Film Festival, accepted the Vanguard Award for an emerging artist. In light of our
populated by an unforgettable cast of lost souls, country’s ongoing fight against hate and discrimination, Rees accepted the award with an emotional speech
Quentin Tarantino received a Vanguard Leadership that powerfully reminded us of the work that lies ahead to change the course of history. Rees is an alumna
Award alongside a 25th anniversary celebration of of Sundance Screenwriters, Creative Producing, and Directors Labs. She has been the recipient of Sundance
his inaugural feature Reservoir Dogs. This iconic film Institute’s Time Warner Fellowship and Annenberg Film Fellowship and premiered two feature films at the
first premiered at the 1992 Sundance Film Festival Sundance Film Festival, Pariah in 2011 and Mudbound in 2017.
following participation in Sundance Institute’s 1991
Directors Lab, and after 25 years of influencing the
grittier side of independent film, Reservoir Dogs
returned to the big screen with a restored 35mm print
at this year’s “From the Collection” Festival screening
and at Sundance NEXT FEST. Over the years,
Tarantino has supported the Institute in many ways,
including as a Creative Advisor at the Labs, mentoring
emerging new artists. Telling stories is one way to defend
against ‘next’—no, to record ‘next’—
no, to determine what happens next.
VANGUARD AWARD WINNER DEE REES
2017 ANNUAL REPORT 44

Sundance
Spotlights
Whether launching groundbreaking new
initiatives to support artists in innovative
ways or celebrating milestones of programs
that have enriched the independent film
community over the years, these standout
moments from 2017 illuminate how
Sundance Institute is advancing the work
of the most awe-inspiring storytellers of
today and tomorrow.

Pushing
Boundaries
Changing the way stories are told and shared—here’s a look at some of Sundance’s
most boundary-pushing work from 2017.
EMPOWERING AND ELEVATING WOMEN VOICES IN FILM

WOMEN AT SUNDANCE
Charting new territory to generate real financial support for women-led film projects, Sundance Institute and
The Harnisch Foundation presented Catalyst Women, a new program to connect culturally engaged film
financiers with women artists and the Sundance community. At the inaugural gathering in New York City, 28
creative investors raised over $2.5 million for six new Sundance-supported projects directed by women.
At the inaugural gathering of Catalyst Women,

28 creative investors raised over $2.5 million
for six new projects directed by women.
Together with Women In Film Los Angeles and 50 Hollywood leaders, Sundance Institute also launched
ReFrame to advance gender parity in film, TV, and media. ReFrame Ambassadors partner with senior decision
makers to facilitate gender inclusiveness and incentivize more balanced hiring practices across the industry.
A HOME FOR ARTISTS-IN-EXILE

THEATRE PROGRAM
As the Theatre Program moved into its third year of cultural exchange between U.S. theatre makers and those of
Middle Eastern and North African (MENA) regions, it became clear that a large population of MENA artists were
living in exile in Europe. In order to provide artists affected by global conflict with time and space to create, the
Theatre Program launched a residency in Germany to focus on new Arabic-language texts.

In May, six playwrights of Syrian descent convened interaction; Grace Lee facilitating an intergenera- industry. And the newly launched Sundance Institute
to develop projects that address very specific circum- tional AI conversation with deceased ancestors to | YouTube New Voices Lab supports multi-hyphenate
stances surrounding the artistic diaspora. The two- interact with the past, present, and future; and Tony creators developing scripted digital series.
week residency culminated in the culturally diverse Patrick’s augmented reality comic book exploring a
city of Berlin with a rare opportunity for the play- redefinition of cultural and financial capital—these Working from both inside and outside the mainstream
wrights to share workshopped scenes with a public Sundance-supported artists developed visions that television industry, Sundance-supported artists are
audience and hear their words come alive on stage in have real-world impact and will encourage the public changing the face of episodic content by populating
their native tongue. to engage in their own futures. bold original stories with diverse, rarely seen charac-
ters. From the 2014 lab, Iranian-American filmmaker
Desiree Akhavan is set to begin production on her com-
edy series The Bisexual for the UK’s Channel 4. And
HELPING ARTISTS RELEASE FILMS EMPHASIZING THE ART OF from the 2016 lab, Rafael Agustin just sold his project
ON THEIR OWN TERMS NONFICTION FILMMAKING Illegal, a dramedy about an undocumented family, to
CREATIVE DISTRIBUTION INITIATIVE DOCUMENTARY FILM PROGRAM the CW with Gina Rodriguez attached to produce.
Sundance Institute is empowering independent artists Believing that art changes the way we reach people,
to release their films and build audiences on their own the Documentary Film Program marked its second
terms. Through a pioneering new Creative Distribution year of Art of Nonfiction, an initiative that fosters the
Fellowship, the Institute is helping filmmakers navigate creation of bold, inventive nonfiction storytelling.
the terrain of self-release. Providing resources, mentor- The initiative provided targeted creative and financial
ship, and tactical support for films to reach audiences, support for five new fellows who are working to ex-
the fellowship includes a grant for marketing expenses, press and describe the human experience in evocative
a pre-brokered subscription video-on-demand deal, cinematic forms.
and guidance from industry experts and staff.
This year’s inaugural fellowship supported two Beginning with a residency in Marfa, Texas, in
critically acclaimed films from the 2017 Sundance collaboration with the Donald Judd Foundation
Film Festival: Columbus, a fiction feature directed and ending with a five-day retreat at the Sundance
by Kogonada, and Unrest, a feature documentary by Resort in Utah, this year’s program also featured
Jennifer Brea. creative sessions with two legendary artists: dancer
and choreographer Bill T. Jones and screenwriter
Joan Tewkesbury. Through deeply engaging with the
artistic process, Art of Nonfiction takes the pressure
IMAGINING THE FUTURE OF WORK IN off doc makers to produce content driven by subject
LOS ANGELES 2025 matter, and instead protects the creative freedom of
NEW FRONTIER PROGRAM artists experimenting with form, craft, perspective,
and story to open up new possibilities for innovative
As artificial intelligence, immersive media, bioengi- and impactful documentary filmmaking.
neering, and robotics place us on the precipice of a
dramatic shift in the infrastructure of human work,
how do we look ahead to define our future and deter-
mine value systems in light of our new superhuman
BRINGING INDIE TO
capabilities? World building is one innovation to nav- EPISODIC STORYTELLING
igate this transition and unleash the power of story in EPISODIC PROGRAM
defining our future.
Offering one of the few training grounds for indepen-
In a partnership between Sundance Institute’s New dent artists to explore the explosive new landscape
Frontier Lab and the World Building Media Lab, a of episodic content, Sundance Institute provides two
new residency was offered this year for multidisci- unique lab opportunities with a focus on inclusion
plinary creators to come together to build and sim- to amplify the most creative emerging voices as they
ulate a co-designed vision of LA 2025. With Lauren shape this evolving field of storytelling. At the Episodic
McCarthy transforming into a human Amazon Alexa Story Lab, writers experiment with long-form episodic
to reflect on issues of intimacy, privacy, and human-AI storytelling and learn how to navigate the changing
CREATIVE DISTRIBUTION

Women Make the World
Go Round
WOMEN AT SUNDANCE
ELIZABETH WOOD / WRITER & DIRECTOR
To me what’s important about filmmaking is being
relevant and telling stories that are important. That
doesn’t mean they can’t be crazy and wild and full of sex
and drugs, but there has to be a point or else it’s a stock
Women remain underrepresented behind the camera in Women at Sundance is made possible with strategic
market full of plastic products … and so perhaps we say
both film and television, especially in the mainstream partnership and philanthropic support from members that women storytellers may spiritually be more inclined
commercial industry. While the gender balance in of the Women at Sundance Leadership Council, who to tell stories that have more of a philosophy. —Elizabeth Wood
independent film is imperfect, Sundance Institute is directly shape the work of Women at Sundance and
proud of its long history and ongoing commitment to enable us to support and mentor our women artists.
supporting and amplifying diverse voices. We are honored to thank the following dynamic
women for their support: Katy Drake Bettner, Barbara
Women at Sundance is a network of artists, mentors, Bridges, Abigail Disney, Ruth Ann Harnisch, Cristina
changemakers, and philanthropists who champion
the most exciting new female voices. Through its
Ljungberg, Ann Lovell, Susan Bay Nimoy, Patty
Quillin, Brenda Robinson, Kimberly Steward, Lynda
LAURENS GRANT / DOCUMENTARY FILMMAKER
many programs—including the Women at Sundance Weinman, Jenifer Westphal, and Jacquelyn Zehner.
Fellowship, financing and strategy intensives, Catalyst We are more than half the population and our stories
Women presented by The Harnisch Foundation 2017 marked the fifth annual class of Women at Sun- are riveting, interesting, and said simply: they matter.
(read more about this boundary pushing program on dance fellows, a diverse group of filmmakers working
page 48), and a partnership with Women in Film Los as producers and directors in the documentary and We’re awesome! No one can multitask, solve crucial
Angeles on ReFrame—Women at Sundance celebrates narrative fields. Hear from three of our fellows as they problems, and get on with our day like women.
and advances women storytellers in creating new reflect on the need for female voices in storytelling. — Laurens Grant
work, launching projects, and sustaining their careers.
ELYSE STEINBERG / DOCUMENTARY FILMMAKER

If you look at the statistics of how many women directors,
producers, writers there are in comparison to men – it
is astounding. There is an unfortunate inequity in the
business and there is a clear need to include more wom-
en storytellers. We need more diverse voices. To get the
best creative stories we need a wider range of voices being
represented. I think as a society and culture we all benefit
CECILIA ALDORONDO JANICZA BRAVO REBECCA GREEN from a diversity of voices being heard. —Elyse Steinberg
/ DOCUMENTARY DIRECTOR & PRODUCER / WRITER & DIRECTOR / PRODUCER
The Difference
JAMES M. JOHNSTON AND TOBY HALBROOKS
a Decade Makes
OLD MAN AND THE GUN
One of the most sorrowful,
poignant and moving visuals
A GHOST STORY
you will see in a movie theater
CREATIVE PRODUCING PROGRAM this year, or possibly any year.
—David Fear on A Ghost Story, Rolling Stone
PERSON TO PERSON
Ten years ago, Sundance Institute launched into new territory to nurture emerging independent producers.
Since the birth of the Creative Producing Lab and Fellowship, 59 producers have been supported through the
program and today these alumni—with new projects, new platforms, and new career tracks—are transforming
the world of indie film. Here are a few of their trajectories from across the decade. LISTEN UP PHILIP
AIN’T THEM BODIES SAINTS
ADELE ROMANSKI
To be afforded a window JORDANA MOLLICK The funny, beguiling and
THE UNDERGROUND RAILROAD
into another consciousness
IF BEALE STREET COULD TALK
is a gift that only art can give. IN THE VAULT
affecting Hello, My Name Is Doris,
UNDER THE SILVER LAKE —A.O. Scott on Moonlight, The New York Times a brave little film that shows it’s
THE GIRLFRIEND EXPERIENCE PLAY BY PLAY never too late to come of age.
—Gary Goldstein, The Los Angeles Times
GEMINI
MOONLIGHT
THE GOOD TIME GIRLS
MORRIS FROM AMERICA

HELLO, MY NAME IS DORIS
BLACK ROCK
THE MYTH OF THE AMERICAN SLEEPOVER NIGHT OWLS

THE FREEBIE
LIFE PARTNERS

The Next
Generation
SUNDANCE IGNITE
“I was at a bit of a crossroads,” said Olivia convened in Park City in January to kick-off their and there’s already a distinct collaborative spirit in the
Peace, who like many young aspiring filmmakers yearlong Fellowship with an exclusive opportunity to group,” he said. “We’ve sent each other rough cuts of
found herself recently graduated from college and attend the Sundance Film Festival. new projects, script drafts, and more.
missing a community of support as she pursued
her dream of making a movie. This artistic isolation “It’s invaluable having people who are a part of the The Fellows are making great strides as they learn
quickly evaporated when she received a 2017 Sun- industry you’re trying to break into helping you on to navigate the independent film industry—from
dance Ignite Fellowship. your journey,” said Peace, who was mentored by Sundance internships to attending professional con-
Sundance-veteran producers Effie Brown and Jason ferences and shadowing directors on set. Dharwadker
Giving rise to a new generation of talent, the Fellows Berman. Fellow Sachin Dharwadker, another young was recently selected as one of the new Episodic
Program is a core part of Sundance Ignite, which wel- filmmaker trying to find his footing, described the Fellows and Peace was hired as an art department
comes young filmmakers into the Sundance family eye-opening experience of attending the Festival, director for the June Directors Lab—she’s also getting
and provides them with year-round mentorship and “Tens of thousands of people, all passionate about amped up to make a new short film. “Being at Sun-
artistic development experiences so they can charge storytelling, converge in the snow to screen, share, dance and talking to my mentors has empowered me
ahead with their filmmaking goals. inspire, network, and celebrate,” he said. to take ownership of the things I create,” she said. “I
plan on making some incredible work this year. It’s
Peace, along with a diverse group of bright young Beyond the Festival, Dharwadker was most encour- time to shake some stuff up.”
filmmakers hailing from Colombia, Greece, Hong aged by the ongoing support of the Ignite community.
Kong, Sweden, the U.K., the U.S., and Venezuela, “We all got very close in a very small amount of time,
It’s invaluable having people who are a part of

the industry you’re trying to break into helping
you on your journey.
OLIVIA PEACE

Sundance
Film Festival
BEACH RATS A GHOST STORY
Directed by Eliza Hittman Directed by David Lowery
Highlights
From social unrest in America to civil war in Syria, from a
culture clash love story to a sensual coming-of-age—here are MUDBOUND THE NILE HILTON INCIDENT
a few of the films from the 2017 Sundance Film Festival that Directed by Dee Rees Directed by Tarik Saleh
resonated with audiences around the world by shining a light
on the most pressing issues of our times—or offering
an exhilarating escape from them.
ICARUS LAST MAN IN ALEPPO

Directed by Bryan Fogel Directed by Feras Fayyad
CALL ME BY YOUR NAME THE BIG SICK CITY OF GHOSTS WHOSE STREETS?
Directed by Luca Guadagnino Directed by Michael Showalter Directed by Matthew Heineman Directed by Sabaah Folayan

LONDON
L.A.
The HONG KONG
Festival
Travels
SUNDANCE NEXT FEST
Movies, music, and mischief collided when some of the boldest movies from
January’s Sundance Film Festival made their Los Angeles debut alongside
an eclectic slate of musical and comedic live performances at Sundance
NEXT FEST.
As audiences gathered for this year’s summer fest at the Ace Hotel’s historic
downtown theatre in Los Angeles, the city itself played a lead role with L.A.
programming featuring locally-inspired stories like Justin Chon’s Gook, a film
set within the Korean American community during the 1992 L.A. riots, as well
as Marvin Lemus’ “Gente-fied,”(pictured) a Web-series on gentrification in Boyle
Heights. To round out the one-of-a-kind festival experience screenings were
bookended by either conversations with leading industry voices like America
Ferrera, Ava DuVernay, and Larry Wilmore, live performances by comedians
Kate Berlant, Kate Micucci, and Natasha Leggero, or music by Sleigh Bells,
Electric Guest, Lizzo, and more.
Also throughout the year, Sundance Film Festival: London and Sundance
Film Festival: Hong Kong extended the reach and impact of films direct from the
2017 Sundance Film Festival. With a selection of groundbreaking new films, these
traveling festivals create opportunities for cinematic and cross-cultural exchange.

#Sundance
Locals
UTAH COMMUNITY PROGRAM
Beginning in January with the ever-popular Best of Fest screenings for Utah residents at the Sundance Film
Festival and continuing throughout the year, the Institute hosts a wide range of community programs to offer
local Utah audiences the chance to experience independent film, theatre, and music.
This year marked the 20th anniversary of the free Summer Film Series, and over 6,300 locals showed up to
watch Sundance-supported films set against the backdrop of Utah’s natural beauty. With food, games, and
activities for the whole family, these outdoor screenings have become a favorite summer tradition for the local
community. Anniversary celebrations included a screening of the cult classic Napoleon Dynamite, which fea-
tured a conversation with director and star Jared Hess, and later in the summer, the documentary Meru drew a
large climbing-enthusiast crowd with many University of Utah students and alumni, as well as a presentation
by the Utah Avalanche Center. Such special collaborations and locally-inspired programs help to strengthen
Sundance’s ongoing commitment to its host state and connect with homegrown audiences.

Our
Community

Financial $42.8 MM
TOTAL EXPENSES
$28.5 MM
CONTRIBUTED REVENUES
Health
76% 37%
PROGRAM EXPENSES CORPORATE GIVING
29%
17% FOUNDATION GIVING
ADMINISTRATIVE EXPENSES
25%
7% INDIVIDUAL GIVING
DEVELOPMENT EXPENSES
7%
GOVERNMENT GIVING
As Sundance Institute dares to take tremendous
risks on supporting bold, innovative artists, the 2%
Institute also remains deeply committed to sound BENEFIT EVENTS
fiscal management and strong institutional health.
The FY17 year-end includes total revenue of
$43.5 million, less total expenses of $42.8 million,
creating a small surplus of $750,000 that has been
re-invested into our reserves.
$43.5 MM $14.8 MM
TOTAL REVENUES EARNED REVENUES
65% 77%
CONTRIBUTED REVENUES BOX OFFICE
34% 7%
EARNED REVENUES SUBMISSIONS
7%
1%
CONTRACT SERVICES
ENDOWMENT DRAW
6%
OTHER INCOME
2%
MERCHANDISE
1%
ONE-DAY LABS

Leadership
BOARD OF TRUSTEES UTAH ADVISORY DIRECTOR’S
BOARD ADVISORY GROUP
ROBERT REDFORD UTAH ADVISORY BOARD (UAB) CHAIR Jason Hirschhorn, DAG Chair
Susan Fredston-Hermann Jason Blum
President & Founder
Chris Kelly
Amanda Kelso
PAT MITCHELL ADVISORY BOARD MEMBERS Andrew Jarecki
Chair Stuart Adams Aminatou Sow
Andy Cier Tim Wu
JEANNE DONOVAN FISHER Katie Eldridge Lauren Zalaznick
Vice Chair Theresa Foxley
Nancy Garrison
GEOFFREY K. SANDS Joyce Keil-Chafin
Vice Chair Shari Levitin
Virginia Pearce
Heidi Prokop
Sean Bailey Charles D. King Coleen Reardon
Ritesh Batra Lisa Kron Rhonda Sideris
Ryan Coogler Lyn Davis Lear Jenny Wilson
Kenneth Cole Gigi Pritzker Jacki Zehner
Ava Duvernay Alejandro Ramirez
Fred Dust Magaña
Philipp Engelhorn Amy Redford EX-OFFICIO
Caterina Fake Nadine Schiff-Rosen Diane Foster
Bob Frankenberg Jim Swartz Ben Hart
Donna Gruneich Jacki Zehner Ben McAdams
Cindy Harrell Horn Chris Robinson
MEMBERS EMERITUS MEMBERS EMERITUS

Walter L. Weisman, Chair Emeritus Donna Gruneich
Glenn Close Margaret (Margo) Jacobs
Sally Field Tina Lewis
Steven Haft Rory Murphy
Mellody Hobson
Tom Rothman
George White
SUNDANCE INSTITUTE
Featured
John and Marcia Price provide philanthropic historically underrepresented background. The selected
support for the Sundance Institute Theatre Program’s fellow will receive year-round mentorship as well as
international programming in the Middle East and an unrestricted cash grant to support the artist, rather
North Africa (MENA). With John’s work as a former than a specific project. Through this partnership we are
ambassador and appreciation for the importance of able to establish and bolster an exciting emerging voice.
Collaborations
fostering artists in the MENA region, together with
Marcia’s love of theatre and the arts, they are inspired Zions Bank is a valued long-term supporter in Utah.
to make this work a philanthropic priority each year. As an Institute Partner, Zions Bank presents the Salt
John and Marcia’s involvement was further deepened Lake Opening Night Screening and Reception at the
when they traveled with the Sundance Theatre team Sundance Film Festival and also host their annual
to Morocco to experience firsthand the work their Utah Women’s Leadership Awards Luncheon during
philanthropy makes possible. the Festival. In addition to being the Principal Sponsor
of the year-round Utah Community Programs, in 2017
Sundance Institute has worked closely with many visionary philanthropists Kimberly Steward, founder of K Period Media, was Zions Bank generously supported Catalyst Women.
and the world’s leading foundations, government agencies, and corporations to inspired to make a philanthropic impact at Sundance This partner celebrates the independent stories
revolutionize the way stories are told and shared. We are proud to highlight just a after Manchester by the Sea, which she produced, and original voices championed by the Institute by
premiered at the 2016 Sundance Film Festival. providing filmmaker grants to six Catalyst Women
few of the many individuals and organizations that have transformed our work, our Kimberly provides support as a Sundance Circle projects, with additional support to three other projects
artists, and our community. Visionary member and provides additional leadership directed by women.
and philanthropic support as a member of the Women
at Sundance Leadership Council. In addition to
providing generous financial support, Kimberly made a
FOUNDATIONS GOVERNMENT meaningful impact by participating as a panelist at the
Women at Sundance Brunch at the 2017 Festival.
EVENTS
Acton Family Giving provides crucial and generous The Utah Board of Tourism Development, part
unrestricted support to Sundance Institute and its of the Governor’s Office of Economic Development, Sundance Film Festival and Sundance Institute
programs. This funding comes to us as part of Acton provided generous matching funds to Sundance events rely heavily on the generosity of our Park City
Family Giving’s work in storytelling as a catalyst to Institute as part of its cooperative marketing program CORPORATIONS community partners. Bill White Restaurant Group
empathy and compassion across an inclusive human to promote visitation to Utah by out-of-state travelers and High West have been long-standing supporters
experience. Through their partnership, we are able and extend the Utah brand. With the Office of As a longtime partner of Sundance Institute, Adobe for over 10 years, providing local and dynamic catering
to allocate funds where they are needed most and to Tourism’s involvement, the Institute increased out-of- champions independent storytellers through year- and beverage experiences to our guests. Cactus and
focus our attention on strengthening our programs state visitorship to the 2017 Sundance Film Festival by round philanthropic support of the Institute’s artist Tropicals and City Home Collective have also been
and developing new initiatives as we provide 19% over 2016 through dedicated marketing resources programs and festivals. In 2017, Adobe supported the supporters for several years, providing an eye-catching
leadership to the fields of film, theater and new for our festivals in Park City, London, Hong Kong, and Sundance Film Festival both by being a Leadership aesthetic that creates a comfortable space to celebrate
and interactive media. Los Angeles. Sponsor and by sponsoring the Festival’s Art of Editing independent voices.
Lunch; later that year, Adobe served as a Principal
The John D. and Catherine T. MacArthur Sponsor of Sundance NEXT FEST in Los Angeles. In
Foundation has generously supported Sundance addition, the social impact initiative Adobe Project
Institute for more than two decades. This year, in an
INDIVIDUAL GIVING 1324 underwrites Sundance Ignite, which fosters
effort to strengthen a national network to support emerging voices ages 18 to 24. With Adobe’s support,
Steve Cohen and Paula Froehle are each members the program’s annual short film challenge selects 15
nonfiction multimedia makers, the MacArthur
of the Sundance Circle Visionary community. In filmmakers to participate in a yearlong fellowship to
Foundation awarded a new two-year grant to the
addition to providing generous philanthropic support receive mentorship under world-renowned filmmakers
Institute to enable our Documentary Film, New
as individuals, they have also worked to build a strong and Institute staff.
Frontier, and Native American and Indigenous Film
community of Sundance advocates in their hometown
Programs to provide direct funding to independent
of Chicago. Steve and Paula are founders of Chicago In 2017, National Geographic committed to a two-
documentary film projects, with remaining funds
Media Project (CMP), a member-based philanthropic year partnership in support of the Documentary Film
going toward our labs, fellowships, and year-round
community of documentary film lovers who believe Program, through the Sundance Institute | National
continuum of artist support.
in the power of media to bring about social change. Geographic Further Fellowship. Resonating with
Each year CMP hosts a Festival Sneak Preview National Geographic’s global brand ethos, further,
event in Chicago for its members and Sundance each year the program selects one fellow whose work
Institute donors in the area. Steve and Paula have examines stories of deep exploration, pioneering, and
inspired numerous CMP members to provide direct possibility. Sundance Institute’s shared mission with
philanthropic support to the Institute. National Geographic is to select a filmmaker from a

Supporters
Jenifer and Jeffrey Westphal Jeffrey Pechter Thomas Lee
Elizabeth and Kenneth Whitney Desiree and Kevin Plank Kim and Ping Li
J.A. & H.G. Woodruff, Jr. Joan and Lewis Platt Foundation Susan Lockwood
Charitable Trust Stuart Pollard Kelley and Stephen Lubanko
Jean and John Yablonski Diana and Bruce Rauner Michael Luisi
The Jacquelyn and Gregory Riccitiello Family Crystal and Charles Maggelet
Zehner Foundation
Please join us in thanking our community of generous individuals and Beth Sackler and Jeffrey Cohen Susan and Gib Myers
organizations who made our work possible during Fiscal Year 2017. $30,000–$49,999 Spencer Silna and Nicole Barton Katherine Phillips
Anonymous The Steiner King Family Brian Pope
INDIVIDUALS David and Linda Cornfield Alejandro Ramirez Magana Frankie and Joseph Armstead Peter Sullivan David E. Quinney III
Ian Darling Jenny and Andrew Mason Amy and Barry Baker Family Marilyn and Thomas Sutton Brenda Rever
$100,000 and above Ted Dintersmith and Joel and Barbara Marcus Foundation Marni and Richard Waterfield Carol Rosebrough
Anonymous Elizabeth Hazard Francesca and Chris Beale Mark Wawro Rosenthal Family Foundation
Nion McEvoy and Leslie Berriman
Mr. and Mrs. Ed Aldag, Jr. Abigail Disney and Pierre Hauser Phyllis and Scott Bedford Joanne Wilson Robert and Deborah Schiller
Pat Mitchell and Scott Seydel
Peggy Bergmann Jeanne Donovan Fisher Natalie Orfalea and Louis Buglioli Jane Solomon
Elizabeth and Chuck Mooty
Brad and Elizabeth Bird Jill Edelson Dr. Jan Broberg Carter - Rabbit $20,000–$29,999
Susan Bay Nimoy Melissa Spellman
Road Productions, CEO Anonymous (3)
John Boccardo and Derek Esplin Philipp Engelhorn and Laura Parra Grazka Taylor
Cameron Yates Joyce Keil-Chafin and Bruce Thomas R. Ajamie
Robert A. Compton John and Marcia Price Family Chafin Gayle and Barry Tyerman
Barry Feirstein Foundation Nancy Blachman and David
Genuine Article Pictures David Chan Van Beuren Charitable Foundation
Linda and Bob Frankenberg des Jardins
Perry and Martin Granoff Gigi Pritzker and Michael Pucker Ethan C. Yake
Dwight Curry Alex Blavatnik
The Fredston-Hermann Family Rick and Melinda Reed Family
Bill and Ruth Ann Harnisch Dana DiCarlo and Scott Plank Teri Meno Zingal
- The Harnisch Foundation Paula Froehle - Chicago Foundation Jason Blum - Blumhouse
Media Project Dobkin Family Foundation Productions
Cindy Harrell Horn and Alan Horn Thomas E. Rothman and Jessica
Debbie and Alan Gold Harper Dana and Andy Eckert Sharon Chang $10,000–$19,999
Lyn and Norman Lear Anonymous (3)
Donna and Kevin Gruneich Christina and David Royce William and Sakurako Fisher David Cohen
Lippman Family Foundation Eric Albritton
Rachel and Andrew Hee Carolyn and Charles Rozwat Philip Fung - A3 Foundation Joshua M. Cohen
Mary Lake Polan and Frank A. Cynthia C. Amitin, MD and
Bennack, Jr. - Hearst Ann Hill Jared Ruga Sally Gepp Margaret and Yogen Dalal
Steven C. Ludwig, MD
Arlene Inch Elena and Geoffrey Sands Frederick Green Gus Deardoff
Laurence Bardoff and Lilli Alberga
$50,000–$99,000 Mike Kaeske and Nadine Schiff and Fred Rosen Leonard Haas Stephanie and Jon DeVaan
Brandt Andersen
Anonymous (2) Haven Parchinski Iris and Michael Smith Kathleen Hagen Tom Dolby
Laurie and Bill Benenson
Jill and Ryan Ahrens Jennifer Carrico and Chris Kelly Kimberly Steward Dayna and Harvey Heller Kevin and Molly Efrusy
Jordan and Lisa Bender
Charmaine and Sean Bailey Barrie Landry David Stone - SmartBoies Suzy Hendriksen and Jenn Bastos Molly Ferrante
Steven and Michele Boal
Katy and Paul Bettner Jason Delane Lee and Yvonne Entertainment - Smart Gillian Hormel Nina and David Fialkow
Huff Lee Family Foundation Wendy Brown
Barbara Bridges Anthony Hsieh Jason Hirschhorn
Pascal Desroches and Yvette Jim and Susan Swartz Neill and Linda Brownstein
Jennifer Carrico and Chris Kelly Margo and Ken Jacobs Lynda Goldstein
DeGannes Janet and Gottfried Tittiger David Burt
Joseph Casale Philip Kent James Heavener
Caterina Fake Wendy Vanden Heuvel - Distracted Larry and Carol Clemmensen
Steve Cohen - Chicago Lynn and Bruce Lindsey Caroline and Edward Hyman
Media Project Shelly and Robert Light Globe Foundation Melissa and Bradford Coolidge
Debbie McLeod and Jay Sears Nancy and Andrew Jarecki
Kenneth Cole and Maria Cristina Ljungberg John and Marva Warnock Richard Desich
Cathy and Alex Mendez Amanda Kelso
Cuomo Cole Ann Lovell Lynda Weinman and Bruce Heavin Anne and Pierre de Villemejane
Miner Foundation Sharrington and Parker Kennedy William Dietz

Supporters
Barbara and Bob Jones Julie Spielberg-Senet The Kendeda Fund
Jean Kaplan Nicholas Snow The Andrew W. Mellon Foundation
Gabriella Kelly Karen Sporn The Rockefeller Foundation
Heather Kenihan Brian Steward Will and Jada Smith Family
Leslie and Deborah Kratter David Sutphen Foundation
Shari Levitin and Lee Gerstein Judi and Howard Teig Surdna Foundation
Susan Lockwood Mary and Peter Tennyson

$100,000-$249,999
Karen and Gregg Lund Stacey Thal
Bertha Foundation
John Lyons Carolynn Towbin
Cinereach
Sheila Driscoll Ellen and Mike Rosenberg Grace Colby Christine Mahoney Millicent and Todd Tracey
Doris Duke Foundation for
Fred Dust Stacy Sachen Katie and George Coleman Kay Malone Stephen Tullman
Islamic Art
Molly Ferrante Sonja Saltman Carlos Cusco Daniel McCollister Kristin and James Ulland
George S. and Dolores Doré Eccles
Elizabeth and Jesse Fink Laurie and Owen Schwartz Deborah and Forrest Danson Robyn McCormick Christina Varotsis Foundation
Leslie and Jeffrey Fischer Jim Scott Ruth and Phil Davidson Jeff McKibben Falon Victorian Embrey Family Foundation
Ronaldo M. Foresti Maureen and Tom Shea Linda and Thomas Dupree Sandra and Maurice McSweeney Stacey and Paul Von Berg Hollywood Foreign Press
Nancy and David Garrison Linda and Rick Smaligo Lisa Donini Carole Meiselman Martin Werner Association
Lea Ann Germinder Peter Sobiloff Colin le Duc Mary Melot and Robbin Beebe Gayle and Sam Youngblood Ewing Marion Kauffman
Foundation
Shari Gottlieb Laura Stuart Amy Eckman and Dr. Steven Pally Dale S. Miller
Robin and Daniel Greenspun Rosalie Swedlin and Robert Cort Jana Edelbaum Hilton and Linda Mirels
FOUNDATIONS $50,000-$99,999
David Haas Rebecca Thomley The Eisenberg Family Virginia Mithoff
Compton Foundation
Anne and Mark Hansen Millicent and Todd Tracey Di-Ann Eisnor Irene and Gary Mottola
$1,000,000 and above LUMA Foundation
Ryan Hastings Kim and Jeff Trocin William and Leslie Elkus Michael Musci
Acton Family Giving The Shubert Foundation, Inc.
Janice and Steven Hefter Nancy and Brent Trostle Maziar Farzam Suzanne Niedland
Annenberg Foundation
Marleen and David Hood George and Victoria Whipple Gregg and Jeff Foxworthy Sonny Olsen $25,000 -$49,999
John S. and James L. Knight
Karen and Mark James Visionary Women Sandy Gelfond Henry Otto Foundation The Academy of Motion Picture
Patrick Kennedy and Jamie Amos Karen and Robert Gober Kelly and Mike Palmer John D. and Catherine T. Arts and Sciences
Ellen Kirsh $5,000 - $9,999 David Peeler MacArthur Foundation The Ammon Foundation
Heather Goodman
Kent Kresa Anonymous (5) Open Society Foundations Ray and Dagmar Dolby Family
John Grannan Kathryn Petersen
Carlos Archilla Skoll Foundation Fund
Mary and Lindon Leader Mark and Debra Gregg Juan Pope
Gayane Ardjian EarthSense Foundation
Zander Lurie Doris Harrigan Roberta Posey Time Warner Foundation
Stephanie and Daniel Aucunas Roger & Chaz Ebert Foundation
Susannah Gray and John Lyons Linda and Malcolm Hastings Othon Prounis
Maiken Baird $500,000-$999,999 The Fledgling Fund
Thomas Marchetti Robin Hauser Elizabeth Quail
Steven and Carolyn Barg The Charles Engelhard Foundation FOND Group
Nancy Medford Lisanne and Don Hendricks Stacey and Steven Rauch
Judith and Thomas Billings Robert Rauschenberg Foundation H/3 Foundation
Daniel McCollister Terry and Ann Marie Horner Andrew Schapiro
Alexandra Bowes Alfred P. Sloan Foundation JL Foundation
Buzz and Donna Miller Steve Horowitz Laurie Schwartz
Marguerite and David Camarata Native Arts and Cultures
Hilton and Linda Mirels Barbara and Julius Hyatt Gary Semrow Foundation
William Cameron $250,000-$499,999
Ruth Mutch Mary Innis Wendy and Frank Serrino The Harold and Mimi Steinberg
Buffy Castillo Arcus Foundation
Lori and Janusz Ordover Justine Jacob Lisa and Joel Shine Charitable Trust
Hannalorre and Mohamed Ford Foundation
Iris Pattillo Chandra Jessee Elisa and Brian Slobodow
Chahine W.K. Kellogg Foundation

Supporters
Institute Associates Nokia OZO Leadership Sponsors
AMD Radeon NYU Tisch School of the Arts Adobe
ASCAP (American Society of PBS AT&T
Composers Authors & Pop Art Snacks DIRECTV
Publishers)
Ribbow Media Group Omnicom
Aspera, an IBM company
ro*co films Stella Artois®
Autograph Collection Hotels
SAGindie YouTube
BBC America
SayOk
Billboard Sustaining Sponsors
Sundance Now
Biola University’s Cinema & Media American Airlines
SundanceTV Global
$10,000 - $24,999 GOVERNMENT AGENCIES CORPORATE SUPPORTERS Arts Department
Canon U.S.A., Inc.
The William H. Donner The Blackhouse Foundation Syracuse University - S.I.
Newhouse School of Public Creators League PepsiCo’s Next
Foundation $500,000 and above Institute Partners The Black List Gen Studio
Communications & College of
The Max and Victoria Dreyfus State of Utah - Governor’s Office of Adobe Project 1324 Bloomberg Philanthropies Visual and Performing Arts Daydream
Foundation Economic Development
Amazon Studios Blundstone Systane® Lubricating Eye Drops Francis Ford Coppola Winery
Film Music Foundation
Discovery Channel BMI Tao Group GEICO
GRAMMY Museum® $250,000–$499,999
National Geographic Brand Storytelling Technicolor Experience Center The Hollywood Reporter
Gruber Family Foundation National Endowment for the Arts
NBCUniversal BUILD Series by AOL TIME INC. + LIFE VR IMDb
The Carrie Louise Hamilton Utah Office of Tourism, Film and
Global Branding Refinery29 Candescent Films Toast Vodka Jaunt
Foundation
RT Features Carnegie Mellon University: Turner Kickstarter
Francena T. Harrison Foundation
$100,000–$249,999 YouTube Master of Entertainment UNC School of the Arts - School of Oculus
Promontory Foundation Industry Management
Salt Lake County Economic Zions Bank Filmmaking
The Tony Randall Theatrical University of Utah Health
Development Department CNN Films Univision Communications, Inc.
Fund, Inc.
Summit County Restaurant Tax Comcast-NBCUniversal (UCI)
Richenthal Foundation Industry Alliance Festival Host State
Comcast Ventures Verve Label Group/Universal
The White Feather Foundation A&E IndieFilms Music Group
$50,000–$99,999 Creative and Producing Teams of State of Utah
BET Networks Vimeo
Salt Lake County Zoo, Arts and The Birth of a Nation
$5,000 - $9,999 Parks (ZAP) Program Big Beach and Beachside
The Creative Mind Group Vulcan Productions 2017 SUNDANCE
Fenton Bailey and Billy Luther Summit County Recreation, Arts, Cinetic Media / Sloss Eckhouse Dell WNET New York Public Media NEXT FEST
and Parks (RAP) Tax Law Co
Foster Charitable Trust Directors Guild of America (DGA) Women In Film Los Angeles
Creative Artists Agency (CAA) Principal Sponsors
Indigenous Media Initiatives EARTHxFilm Writers Guild of America, West
$10,000–$49,999 HBO Acura
S. J. and Jessie E. Quinney FilmL.A., Inc.
Foundation Embassy of Australia ICM Partners Adobe
Impact Partners
Deborah Reinisch and Michael swissnex San Francisco Miramax 2017 SUNDANCE
International Documentary
Theodore Fund Utah Division of Arts and Participant Media Association (IDA) FILM FESTIVAL Major Sponsors
Museums Hochstadter’s Slow &
Showtime Documentary Films Kering
Presenting Sponsors Low Rock & Rye
Sony Pictures Classics LUNA® Bar
$5,000 - $9,999 Stella Artois®
Sony Pictures Worldwide Acura
Salt Lake City Arts Council Muslim Public Affairs Council -
Acquisitions Hollywood Bureau SundanceTV
Supporting Sponsors
UTA Netflix Chase Sapphire®
Special thanks to the Utah Film Allbirds
WME The New School Canada Goose
Commission, Park City Big Beach and Beachside
Municipal Corporation, and NHK Enterprises, Inc.
Park City Visitors Bureau and Califia Farms
Film Commission.

Supporters
Dolby Laboratories, Inc. CineSamples KPCW THE SHOP
FilmL.A., Inc. Cinetransformer Intl. KXRK “X96” 96.3FM / Broadway Skywalker Sound
The Theatre at Ace Hotel City Weekly Media Slate
cityhomeCOLLECTIVE LaCie SLUG Magazine
Utah Office of Tourism and Film
Corey Field Law Group, P.C. Larger Than Life, Inc. SmallHD
Visit the Santa Ynez Valley
Cuisine Unlimited Catering & Latham & Watkins LLP Snow Flower Condominiums +
Media Sponsors Special Events Levels Beyond Reservations
LA WEEKLY Deer Valley Resort LUX Catering and Events Sony Electronics
Los Angeles Times DeJoria Center Made In Nature Sony Professional Media
Mashable Dolby Laboratories, Inc. Miderra Transportation Sound Devices, LLC
Time Out Los Angeles Done To Your Taste Catering and Management Special Electronics Group
Events MOTU Steadicam
Official Providers & DoubleTree by Hilton Hotel Park MovieMaker Magazine Studio System
In-Kind Supporters City-The Yarrow
Nicholas and Company Sundance Catalog
350 Main Easyrig
O.C. Tanner Company Sundance Mountain Resort
90.9 fm KRCL Electronic Theatre Controls (ETC)
O.P. Rockwell Tiffen
All Seasons Resort Lodging Enterprise
Ore Inc. Trolley Square
Angeniuex Eventbase
Paralinx Ucross Foundation
Anton-Bauer, Inc. Film Independent
Park City Lodging, Inc. Valley Behavioral Health
ARRI FotoKem
Park City Marriott Hotel VARIETY
ArtCenter College of Design High West Distillery
Park City Transportation Visit Salt Lake
Arts Alliance Media Identity Properties
Peczuh Printing The Vitec Group
Aruba IFP (Independent Filmmaker
Polycom Wide Blue Sound
Aspen Press & Packaging Project)
Quiet PC Wyndham Vacation Rentals
Audio-Technica Image.net/WireImage/Getty
Images Resorts West Y2 Analytics
Avid
In The Event Riverhorse on Main Zeiss
Barco, Inc.
Jupiter Bowl Rosco Laboratories
Bill White Restaurant Group
Justin’s S’well
Box, Inc.
K-TEK Schneider Optics
Cactus & Tropicals
Kenneth Cole Productions Screen International
Catalyst Magazine
Kino Flo Shiftboard
Cinefamily
SUNDANCE INSTITUTE
Sundance
Artists

Supported
Angela C. Lee Benjamin Outram Catherine Bainbridge
Angela Petrella Benjamin Velez Cathy Yan
Anna Cordell Benji Kleiman Cécile Mille
Anna Jacobs Bennett Elliott Cécile Rousset
Artists
Anna Kerrigan Benoit Martin Cecilia Aldarondo
Anna Rose Holmer Bernardo Britto Celia Rowlson-Hall
Annabelle Dexter-Jones Bess Wohl Céline Sciamma
Annie Clark Beth de Araújo Celine Tricart
Annie Silverstein Betsy Stienberg Channing Godfrey Peoples
Anouchka van Riel Biana Oana Charine Gonzales
Here are the artists supported in Fiscal Year 2017, whose stories challenged, Anthony Bregman Bibhusan Basnet Charles D. King
inspired and changed us. Antoinette Nwandu Bijan Olia Charles Henden
Antonio Santini Billy Porter Charles King
Antti Toivonen Bing Liu Charles Niu
Aaliyah Williams Àlex Lora Cercos Amanda Rose Wilder Anu Valia Bonni Cohen Charlie Lyne
Aaron Koblin Alex Ross Perry Amanda Spain Arkasha Stevenson Brendan Mullin Charlie McDowell
Adam Benic Alex Smith Amar Al Bojrad Armando Capo Ramos Brent Butler Charlotte Stoudt
Adam Bhala Lough Alex Turtletaub Amelia Winger Bearskin Ashley Baccus-Clark Brett Gelman Charlotte Wells
Adam Bolt Alexander Chi America Ferrera Ashley Browning Brett Haley Chay Yew
Adam Khalil Alexander Lahl Amie Batalibasi Ashley Clark Brett Morgen Chico Colvard
Adam Levin Alexander Nanau Amilca Palmer Augusto Matte Brett Simon Chris Baugh
Adam Lough Alexander Porter Amir Bar-Lev Austin Peters Brett Story Chris Fenwick
Adam Schoenberg Alexandra Shiva Amirah Mohamed Tajdin Axel Danielson Brett Weiner Chris Gervais
Adam Sobel Alexandre Moors Amirah Tajdin Ayahiko Sato Brian Grazer Chris Hutton
Adan Aliaga Alexandre Philippe Amman Abbasi Ayham Abu Shaqra Brian J. Leitten Chris Milk
Adrian Bliss Alfonso Maiorana Amre Sawah Ayla Rose Barreau Brian Kavanaugh-Jones Christina Choe
Adriana Loeff Ali Chahrour Amy Goldstein Ayse Toprak Peker Brian Knappenberger Christina Clusiau
Agata Trzebuchowska Alice Birch Amy Lo Bady Minck Brittany Furlan Christina King
Agha Aleem Ahmed Khan Alice Powell Ana Branea Banks Tarver Bruce Allan Christine Beebe
Aimee Lynn Barneburg Alicia Scherson Ananya Bhattacharya Barak Goodman Bruni Burres Christine Berg
Ajali Nayar Alisi Telengut Anas Khalaf Barbara Kopple Bryan Fogel Christine Delp
Al Morrow Alison Mauldin André Santos Baron Vaughn Callum Cooper Christine Turner
Aldo Emiliano Velasco Alistair Griffin Andrea Arnold Barry Neil Williams Calvin Reeder Christopher G. Cowen
Aleem Khan Allen Baldwin Andrea Sperling Bassam Jarbawi Camilla Uboldi Christopher Hibma
Alejandra Romero Allison Carter Andrew Ahn Bassam Tariq Candace Barbot Christopher Kahunahana
Alejandro Zambra Allison Raskin Andrew Cividino Ben Alex Dupris Carlos Contreras Cindy Connor
Aleksandar Protic Alvaro Riccardo Valente Andrew Dosunmu Ben Cohen Carmen Aguilar y Wedge Claude Barras
Alethea Jones Alysa Nahmias Andrew Fitzgerald Ben York Jones Carrie Weprin Claudia Abend
Alex Bourne Amanda Kernell Andrew Smith Benedict Moran Cary Murnion Claudia Sparrow
Alex Jablonski Amanda Lipitz Andy Jones Benjamin Cohen Caryn Capotosto Clea DuVall
Alex Lipschultz Amanda Mortimer Andy Zinsmeister Benjamin Muzzin Cate Shortland Cody Lucich

Supported
Emanuel Giraldo Btancur Gidon Bromberg James Frohna
Emily Gordon Gil Baron James George
Emily Wong Giles Andrew James Hession
Emma Fletcher Gillian Robespierre James Ivory
Artists
Emre Gulcan Gina Prince-Bythewood James Strouse
Eran May-Raz Giorgos Georgopoulos James Yi
Eric Darnell Giovanni Buccomini Jamie Kalven
Eric Hynes Grace Lee Janah Ncube
Eric Juhola Graham Reznick Janicza Bravo
Eric Metzgar Grainger David Jason Berman
Eric Ochoa Greg Barker Jason Blum
Colin McLaughlin Daphné Hérétakis Drake Doremus Erica Kraus Gregor Zorc Jason DaSilva
Colman Domingo Darci Picoult Drew Christie Erick Argueta Griffin Frazen Jason Dolan
Connie O’Donahue Darcy Brislin Drew Houpt Erin DeAraujo Hannah Fidell Jason Schugardt
Conor O’Loughlin Darin Basile Duncan Sheik Erin Frederick Hannah Park Jason Silverman
Cori Shepherd Stern Darryl Jones Dustin Guy Defa Erin Lau Hannah Sanghee Park Javid Soriano
Cory Finley Dave McCary Dustin Hahn Ernesto Contreras Hannah Utt Javier Donis
Cory Miller David Branson Smith Dyana Winkler Esteban Arrangoiz Hao Wu Jeanine Tesori
Craig Johnson David C. Glasser E.G. Bailey Estevao Ciavatta Harri Grace Jeanne Paturle
Cristian Jimenez David Firth Eboni Freeman Evgeny Afineevsky Harvey Weinstein Jef Sewell
Cristina Ibarra David France Ece Tankal Faisal Kiwewa Hashem Adnan Jeff Baena
Crystal Moselle David Gutnik Ed Gibbs Felipe Bragana Hawa Essuman Jeff Orlowski
Cynthia Hill David Lindsay-Abaire Eddie Bowley Felipe Bragança Heather Condo Jeffrey Travis
Damien Power David Lowery Eddie O’Keefe Felix Lajeunesse Heather Dewey-Hagborg Jem Cohen
Damon Davis David Nicolas Edson Shundi Oda Feng Yuhua Heather Rae Jen Tullock
Dan Marshall David Rane Efuru Flowers Feras Fayyad Heidi Reinberg Jenn Mcallister
Dan Sickles Deanna Barillari Eimi Imanishi Flore Cosquer Helene Hegemann Jenner Furst
Dandypunk Debora Asiimwe Elan Bogarin Francie Calfo Henrik Moltke Jennifer Brea
Danfung Dennis Dee Rees Elie Zananiri Francis Lee Hilary Helding Jennifer Kobzik
Daniel Aukin Derek Schweickart Eliecer Jimenez Francisca Alegría Hu Wei Jennifer Maytorena Taylor
Daniel Clowes Diana El Jeiroudi Elisabeth Holm François Ozon Ifunanya Maduka Jennifer Rundell
Daniel Kraus Diane Becker Eliza Hittman Frankie Fenton Ilinca Calugareanu Jennifer Siebel Newsom
Daniel Lazo Diane Quon Elizabeth Castle Franois Ozon Isa Feliu Jennifer Tullock
Daniel Taplitz Diane Rodriguez Elizabeth Jane Richardson Gabrielle Dunn Iyabo Boyd Jennifer Zheng
Daniella Segal Dominga Sotomayor Castillo Elizabeth Richardson Gabrielle Moore Jack Henry Robbins Jeremy Nielsen
Danielle Behrens Don Bernier Elizabeth Stopford Gabrielle Nadig Jack Youngelson Jermey Stulberg
Danielle Renfrew Behrens Donald Joh Elizabeth Wood Gaby Chiappe Jackson Greenberg Jerry Rothwell
Danielle Varga Donari Braxton Ellen Greenberg Gaby Darbyshire Jacqueline Olive Jesi Nelson
Danny Strong Donna Deitch Ellen Stringer Garrett Bradley Jacqueline Soohen Jesse Littlebird
Danya Taymor Douglas Tirola Elyse Steinberg Gerard McMurray Jakob Kudsk Steensen Jesse Peretz
Geremy Jasper Jakub Ciupinski Jessica Beshir

Supported
Kogonada Lisa Kjerulff Marie-Marguerite Sabongui
Kouta Minamizawa Lisa Marie Rollins Marilyn Ness
Kristen Nutile Lisa Valencia-Svensson Marina Zenovich
Kristen Stewart Lisanne Sartor Marisha Mukerjee
Artists
Kristin Lazure Liu Bing Mark Bailey
Kriv Stenders Liwaa Yazji Mark Frumkin
Kumail Nanjiani Lizzie Nastro Mark Herzog
Kurt Carr Lizzy Sanford Mark Monroe
Kyle Dunnigan Lone Scherfig Mark Palansky
Kyle Mooney Lou Pepe Mark Pellington
Kyoko Miyake Louise Runge Marlena Rodriguez
Jessica Hargrave Jonathan Montepare Justin Chon Lacey Leavitt Loukianos Moschonas Marlies van der Wel
Jessica Hester Jonathan Olshefski Justin Lader Lamia Abi Azar Lubomir Tsvetkov Marlo Hunter
Jhane Myers Jonathan Read Justin Wilkes Larissa Rhodes Luca Guadagnino Marquette Jones
Jill Bauer Jonnie Ross Kahlil Hudson Lars Kenseth Lucas Leyva Marshall Tyler
Jill Smith Jordan Peele Kakha Macharashvili Laruen Greenfield Luci Schroder Marti Noxon
Jill Soloway Jordana Berg Kamal Khalladi Laura Angel Lucien Castaing Martin DiCicco
Jillian Mayer Jordana Spiro Kara Magsanoc-Alikpala Laura Dunn Lyle Mitchell Corbine, Jr Marty Syjuco
Jim Cummings Jose Loret del Mola Karyn Kusama Laura Gorenstein Miller Lynette Wallworth Marvin Lemus
Jim LeBrecht Jose Maria Cabral Kat Croft Laura Nix Lynn Hendee Mary Robertson
Jinho Ferreira Josh Barkey Kat Likkel Laura Noxon Lynne Shankel Massoud Bakhshi
Jiu-liang Wang Josh Feldman Katie Galloway Laura Poitras Lyric Cabral Mateusz Pacewicz
Jo Cattell Joshua Grainger David Kayla Bell Laura Teodosio Macon Blair Matt Ruskin
JoAnne Akalaitis Joshua Oppenheimer KC Austin Laura Wexler Maggie Betts Matt Spicer
Jody Lee Lipes Joshua Z Weinstein Keiichi Tanaami Laura Yawanawa Maggie Kiley Matt Wolf
Joe Brewster Jovanka Vuckovic Keith Fulton Lauren Domino Makoto Nagahisa Matthew Campbell
Joe Piscatella Jude Leitten Keith Hollihan Lauren Fash Malena Barrios Matthew Heineman
Joe Talbot Judith Helfand Keith Karjval Lauren Haber Mallory Schwartz Matthieu de Braconier
John Battsek Julia Docournau Kellen Quinn Lauren McBride Malusi Bengu Maurizio Braucci
John Hoffman Julia Lerman Kenneth Gug Lauren McCarthy Mara Adina Max Mönch
John Lang Julia Nottingham Kevin Burke Laurens Grant Marc Basch Maximilien Van Aertryck
John McClain Julia Pott Kevin Costello Laurent Nicolas Marc Schloss Maya Forbes
John Trengove Julia Reichert kevin sharpley Lázaro González Marc Silver Maya Zbib
Jon Else Julia Thompson Khalik Allah Leah Nanako Winkler Marcia Smith McKenzie Stubbert
Jon Kasbe Julia Willoughby Nason Kief Davidson Leah Thomas Marco Leão Megan Ellison
Jon Shenk Julian Rosefeldt Kimberly Peirce Lebellenger Pauline Marcos Antonio Diaz Sosa Megan Mylan
Jona Dinges Julie Rudd Kimberly Reed Leo Faber Marcos D’az Sosa Mehul JD
Jonathan Bogarin Julie Zografos Koegl Kirsten Johnson Leslie Norville Margaret Betts Mei-Ling Wong
Jonathan Milott Jun Geng Kirsten Tan Lewie Kloster Maria Carla del Rio Betancourt Melaine Gruwez
Jonathan Minard Junaid Sarieddeen Kitty Green Lily Baldwin Maria Maggenti Melanie Miller
Lindsay Gossling Marianna Palka Melissa Painter

Supported
Philippe Piazzo Robert Bahar Scott Dadich
Phoebe Boswell Robert Finley Scott Rashap
Pietro Marcello Robert Greene Scott Ross
Pin-Chun Liu Robert Ramell Ross Scott Yacyshyn
Artists
Pipus Larsen Robin Hessman Sean Hayes
PJ Raval Rocio Mesa Sebastian Barriuso
Pooja Gurung Rodney Stringfellow Sedika Mojadidi
Pratibha Parmar Rodrigo Barriuso Seret Scott
Quarxx Rodrigo Reyes Sergei Stern
Quayola Roja Gashtili Shaandiin Tome
Quentin Tarantino Ronna Gradus Shaheen Haq
Meredith Foster Monique Walton Noah DeBonis R.F.I. Porto Rory Kennedy Shakti Bhagchandani
Mia Lidofsky Morgan Lance Nonny de la Peña Rachael Fung Rory Uphold Shane Boris
Michael Almereyda Morgan Neville Nunzio Randazzo Rachel Rossin Rosa Salazar Shane McSauby
Michael Barnett Mudar Al Haggi Nyjia July Radha Blank Rose Troche Shari Robertson
Michael Camerini Musa Syeed Omar Abi Azar Raed Andoni Roseanne Liang Sharri Hefner
Michael Clark Nacho Vigalondo Omar Zuniga Hidalgo Raeda Taha Rosemary Williams Sharyn Steele
Michael Gasparro Nadia Shihab Orwa Nyrabia Rafael Agustin Rosie Haber Shaul Schwarz
Michael Killen Naima Chapman Osamu Kodera Rahul Jain Roxanne Benjamin Shaun Gladwell
Michael Larnell Naima Ramos-Chapman Oualid Mouaness RaMell Ross Ruben Picavet Shaun Grant
Michael R. Jackson Nana Ekvtimishvili Owen Burke Rami Farah Rubika Shah Shawn “Jay Z” Carter
Michael Showalter Nanfu Wang Palmyre Badinier Ramona S. Diaz Ruby Chen Shawn Christensen
Michael Tabb Naomi Wallace Pamela Yates Rana Kazkaz Ry Russo-Young Shawn Peters
Michael Vukadinovich Natalie Cooper Paola Lazaro-Munoz Rashida Jones Ryan Rumery Shaz Bennett
Michele Lowe Natalie Tran Pascale Lamche Raymond Riley Ryan White Shelby Farrell
Michèle Stephenson Naziha Arebi Patricia Finneran Razelle Benally Sabaah Folayan Sheldon Candis
Michelle Latimer Neasa Ni Chianain Patrick Bresnan Rebecca Dale Sally Vacca Sheyla Pool Pástor
Michelle Morgan Neil Creque Williams Paul Cabon Rebecca Green Salomé Lamas Shira Rockowitz
Michelle Serieux Neil Williams Paul Raphaël Rebecca Thomas Sam Green Shola Amoo
Michelle Szemberg Nia DaCosta Paula Eiselt Rebecca Woolf Sam West Shoshannah Stern
Miguel Arteta Nicholas Ma Paulo Barreto Reggie Rock Bythewood Samba Gadjigo Shrihari Sathe
Mike Flynn Nick Bentgen Pedro Kos Reinaldo Marcus Green Samm Hodges Signe Byrge Sorensen
Mike White Nick Damici Pete Nicks Réka Bucsi Sammi Cannold Silas Howard
Mikey Murphy Nick Sandow Peter Bratt Renata Gasiorowska Sandi Tan Simon Lereng Wilmont
Milena Pastreich Nicole McDonald Peter Huang Ricardo Ruiz Torres Saori Tsukada Sinead Kinnane
Milica Zec Nicole Newnham Peter Livolsi Richard Berge Sarah Elizabeth Mintz Sitara Sadler
Miranda Yousef Nijla Mumin Peter Murimi Richard Rowley Sarah Gubbins Sky Hopinka
Mohamad Hamdan Nikki Appino Petra Costa Rima Najdi Sarah Mintz Sonkitah Conteh
Mohammad Bassam Tariq Nilanjana Bose Philip Himberg Ritu Sarin Saschka Unseld Soren Steen Jespersen
Monica Hellstrom Nitzan Bartov Philipp Engelhorn Rob Auten Sawako Kabuki Spela Cadez
Rob Savage Scott Cummings Stanley A. Smith

Supported
Tearrance Arvelle Chisholm Trevite Willis William Watkins
Ted Bourne Trey Moe Wilma Adams
Teemu Niukkanen Troy Pindell Winslow Porter
Tensing Sonam Turner Ross Wissam Arbache
Artists
Terence Nance Tyler Hurd Xavier Neal-Burgin
Tetsuya Mizuguchi Tyler Rabinowitz Yance Ford
Thando Mgqolozana Vanessa Perez Yang Sun
Theresa Rebeck Verena Paravel Yasmin Elayat
Thomas Ridgewell Victor Hsu Yoko Okumura
Thomas Wester Victoria Estévez Yukari Konishi
Thomas Wright Virgil Williams Zach Fox
Stanley Nelson Steven Markovits Sydney Freeland Tim Dillon Vivek Maru Zachary Zezima
Stavros Pamballis Steven Reneau T Cooper Tim Fain Volker Schlecht Zack Khalil
Steen Johannessen Steven Sater Talal Al-Muhanna Tim Travers Hawkins Vuk Lungulov-Klotz Zoe Lister-Jones
Stephanie Soechtig Stian Hafstad Talal Derki Tisha Robinson-Daly Vukica Lungulov-Klotz Zoe Miranda
Stephanie Wang-Breal Stuart Campbell Tani Cohen Tobias Siebert Wael Kadour Zofia Kowalewska
Stephen Cedars Stuart Ross Fink Tanya Hamilton Todd Milliner Wael Qadour Zuxiang Zhao
Stephen Jacobson Sujata Day Tapiwa Chipfupa Toni Blackford Wael Salem
Stephen Maing Susan Bedusa Tarik Saleh Toni Kamau Wally Wolodarsky
Stephen Morrison Susan Froemke Tashka Yawanawa Tonislav Hristov Wesley Allsbrook
Steven Bognar Susan Graham Tayarisha Poe Tony Patrick Dreannan William Caballero
Steven Caple Jr. Sushmit Ghosh Taylor Sheridan Toshiaki Ozawa William Oldroyd
Steven Ellison Susi Walsh Tea Leoni Travis Wilkerson William S. Davis

To join us in supporting the work
of independent artists, visit
sundance.org/support.

Sundance 2017 AnnualReport

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20

ROBERT REDFORD PAT MITCHELL KERI PUTNAM

SUNDANCE INSTITUTE 2017 ANNUAL REPORT 4

Through its programs, the Institute seeks to

FEATURE FILM GRANTS

SUNDANCE INSTITUTE 2017 ANNUAL REPORT 10

FILM MUSIC PROGRAM

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Other programs of the Institute include those which

“New Frontier artists have pushed the power of storytelling to intersect

“Our New Frontier Story Lab is designed to support storytellers

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SUNDANCE INSTITUTE 2017 ANNUAL REPORT 20

PROGRAM COUNTRIES VISITED

ARTIST COUNTRIES REPRESENTED

SUNDANCE INSTITUTE 2017 ANNUAL REPORT 22

In the past year,

SUNDANCE INSTITUTE 2017 ANNUAL REPORT 26

Satter: What’s the genesis of your script Selah

wanted to see more of my voice

… That was huge for me—just

SUNDANCE INSTITUTE 2017 ANNUAL REPORT 30

DOCUMENTARY FILM PROGRAM • 2011 SUNDANCE DOCUMENTARY FILM GRANT

DARRYL PINCKNEY, THE NEW YORKER

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Cigarettes are smoked by

the carton, exhaust chokes

QUENTIN TARANTINO DEE REES

2017 ANNUAL REPORT 44

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EMPOWERING AND ELEVATING WOMEN VOICES IN FILM

At the inaugural gathering of Catalyst Women,

A HOME FOR ARTISTS-IN-EXILE

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ELYSE STEINBERG / DOCUMENTARY FILMMAKER

AIN’T THEM BODIES SAINTS

MORRIS FROM AMERICA

THE MYTH OF THE AMERICAN SLEEPOVER NIGHT OWLS

SUNDANCE INSTITUTE 2017 ANNUAL REPORT 54

It’s invaluable having people who are a part of

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ICARUS LAST MAN IN ALEPPO

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The HONG KONG

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MEMBERS EMERITUS MEMBERS EMERITUS

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Susan Lockwood Mary and Peter Tennyson

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