‘Not many people had gay dads who died of Aids’: Andrew Durham and Sofia Coppola on movie memoir Fairyland

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Fairyland is a bittersweet film about a girl brought up by her gay father in a blizzard of glitter and feather boas in 1970s San Francisco. Its makers discuss its resonance, its tragedies – and their own boho childhoods When Sofia Coppola logs on to our video call, her friend and fellow film-maker Andrew Durham – whose directorial debut, Fairyland , she has produced – is telling me about being nine or 10 years old, and accidentally outing his father as gay. “Have you heard this story, Sofia?” he asks breezily from Los Angeles. “About Pietro? The Italian guy that my dad was maybe having an affair with when we lived in England?” At home in New York, Coppola furrows her brow. “Uh, yeah. A long time ago, I think. I forgot …” Continue reading... from Film | The Guardian https://ift.tt/UyASfjW via IFTTT
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Big swings, big misses and big deals: what happened at this year’s Sundance?

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The 40th edition of the independent film festival saw some multimillion-dollar deals but also had attendees question if there was a drop in quality

The high bar raised by last year’s Sundance film festival had caused many to feel a little underwhelmed by this year’s edition, a commonly tweeted and spoken concern over just whether this year could truly boast a major breakout movie. Twelve months prior, the workplace thriller Fair Play, erotic drama Passages, nifty horror Talk to Me, romcom Rye Lane, timely documentary 20 Days in Mariupol, mother-son music tale Flora and Son and decade-spanning romance Past Lives caused waves that continued for the next year, an unusually robust lineup, fittingly given that it was Sundance’s big in-person comeback.

It was a slightly more muted affair over in Utah this year, some attributing a weaker lineup to 2023’s dual strikes, which prevented many productions from going ahead, but there were still enough gems amid the murk and a promising raft of major multimillion deals. Because while the strikes may have allegedly affected the roster, they also had a definite impact on the thirst of buyers, in frantic need of films to help repair lighter-than-usual release schedules. There might not have been anything as buzzy as Past Lives but this year’s crop of films continued to edge away from a reliance on A-listers to draw attention, a relief after a period of limp, star-led projects taking slots away from smaller, more deserving fare.

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