Eugene Hernandez has reached the highest of the mountain.
The journalist turned nonprofit government has spent a long time rising via the ranks of the American impartial movie scene. This January he assumes his seat at its apex: because the director of the Sundance Movie Competition.
Hernandez, the co-founder of IndieWire and longtime chief of Movie at Lincoln Middle, bought the coveted job in late 2022. However his official duties start with this 12 months’s competition, the fortieth version of the annual celebration of movie that kicks off Jan. 18. He nonetheless remembers his first time within the luxurious ski city of Park Metropolis, Utah, watching Robert Rodriguez’s “El Mariachi” in 1993.
“All of it feels full circle,” Hernandez tells Selection, including that he shed tears when Sundance CEO Joana Vicente referred to as to supply the job.
Sundance stays the preeminent movie competition for spotlighting new expertise. This 12 months, the group acquired 17,000 submissions, lots of them from rising moviemakers hoping to ascertain themselves within the enterprise. That’s the very best variety of purposes in competition historical past. Hernandez and greater than a dozen particular person programmers, together with the well-respected director of programming, Kim Yutani, have watched each hour of these submissions. His precedence, he says, is to make sure that Sundance stays a spot of discovery in an traditionally unstable panorama for films. “I wish to honor the democratic course of that Kim and the crew have designed and likewise deliver an openness and curiosity,” he says.
With the revealing of his inaugural lineup in December, Hernandez flexed a couple of completely different muscle tissues — there’s a smattering of big-name expertise and administrators (par for the course at Sundance) paired with an thrilling subject of first-time filmmakers and some oddball surprises. Kristen Stewart, Pedro Pascal, Kieran Culkin and Mary J. Blige are all attending with initiatives, and veteran administrators like Steven Soderbergh and Richard Linklater are returning to the fest.
“Eugene has this capacity to make you’re feeling cared for and seen, which is sort of distinctive and ideal for somebody taking over this position,” says Ira Sachs, acclaimed filmmaker of final 12 months’s Sundance breakout “Passages.” Sachs says Hernandez has a eager curiosity in “each the mechanics of the trade and the standard of the content material.”
And Hernandez is instituting some necessary adjustments. Sundance has been internet hosting a digital program since coronavirus wreaked havoc across the globe, and final 12 months many gross sales brokers had been miffed that potential patrons may display screen films from their laptops in Los Angeles as a substitute of on the bottom in Park Metropolis with a full viewers. The competition listened to the complaints and can wait almost every week after the occasion begins to make movies accessible for digital screening.
“A key determination on our finish was to differentiate the in-person and the web,” Hernandez says. “To present every movie its likelihood to get that massive first look.”
The gig additionally requires taking some dangers. This 12 months, Sundance will welcome synthetic intelligence into the fold. The notion of artists collaborating with — or, as many heated predictions say, being totally changed by — AI was a serious level of competition between actors, writers and studios through the 2023 labor strikes that gripped Hollywood. Gary Hustwit’s documentary “Eno,” about visionary music producer Brian Eno, will use generative AI for visuals (creating a very new set of pictures each time the film is screened). Equally, “Being (the Digital Griot),” by Rashad Newsome, will use datasets from Black theorists, poets and activists.
“You have got artists collaborating with AI to not simply inform however to change the way in which tales and storytelling are explored,” Hernandez says. “Sure, there’s an even bigger dialog about AI, however artists are taking a look at the right way to harness this.”
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